Program Book / CAMA Presents the Chicago Symphony Orchestra with Maestro Riccardo Muti / January 25, 2023, The Granada Theatre, Santa Barbara, 7:30PM

Presenting the world’s finest classical artists since 1919

CAMA’S 2022/2023 SEASON

104 th Concert Season

Riccardo Muti

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CHICAGO SYMPHONY

ORCHESTRA

RICCARDO MUTI

Zell Music Director

WEDNESDAY, JANUARY 25, 2023, 7:30PM

Granada Theatre, Santa Barbara

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Emeritus Directors


BOARD OF DIRECTORS

(As of September 29, 2022)

ROBERT K. MONTGOMERY

Chairman

DEBORAH BERTLING

Chair-Elect and President, Women's Board

Rosalind Amorteguy-Fendon

Todd A. Amspoker

Marta Babson

Bitsy Becton Bacon

Isabel Bayrakdarian

Andy Chou

Stephen Cloud

NancyBell Coe

Bridget Colleary

Joan Crossland

Edward S. DeLoreto

GEORGE MESSERLIAN

Vice Chair

JAN BOWLUS

Treasurer

CHRISTINE EMMONS

Secretary

Jill Felber

Raye Haskell Melville

Judith L. Hopkinson

Elizabeth Karlsberg

Frank E. McGinity

William Meeker

George Messerlian

Patti Ottoboni

Michele Saltoun

Judith F. Smith

Nancy L. Wood

Edward E. Birch

Robert J. Emmons

Arthur R. Gaudi

James H. Hurley, Jr.

Sara Miller McCune

Russell S. Bock*

Dr. Robert M. Failing*

Mrs. Maurice E. Faulkner*

Léni Fé Bland*

Stephen Hahn*

Dr. Melville H. Haskell, Jr.*

Mrs. Richard Hellmann*

Dr. Dolores M. Hsu*

Herbert J. Kendall*

Robert Light*

Mrs. Frank R. Miller, Jr.*

Mary Lloyd Mills*

Mrs. Ernest J. Panosian*

Kenneth W. Riley*

Andre Saltoun*

Jan Severson*

* Deceased

Administration

Mark E. Trueblood

President

Elizabeth Alvarez

Director of Development

Michael Below

Office Manager/

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INTERNATIONAL SERIES

AT THE GRANADA THEATRE

SEASON SPONSORSHIP: SAGE PUBLISHING

OCTOBER 10, 2022

CITY OF

BIRMINGHAM

SYMPHONY

ORCHESTRA

Principal Sponsor

Bob & Val Montgomery

Sponsor

CAMA Women’s Board

Co-Sponsors

Elizabeth & Andrew Butcher

Beth & George Wood

Zegar Family Fund

MAY 18, 2023

CURTIS

SYMPHONY

ORCHESTRA

(CURTIS INSTITUTE OF

MUSIC/PHILADELPHIA)

Sponsors

Anonymous

Alison & Jan Bowlus

Co-Sponsor


& Ronald Fendon

JANUARY 25, 2023

CHICAGO

SYMPHONY

ORCHESTRA

Primary Sponsors

Northern Trust

Anonymous

CAMA Board of Directors

Principal Sponsors

Herbert and Elaine

Kendall Foundation

Kum Su Kim & John Perry

Sponsors

Alison & Jan Bowlus

Edward S. DeLoreto


Michele Saltoun

Co-Sponsors

Peggy & Kurt Anderson

Bob Boghosian

& Beth Gates-Warren

Dorothy & John Gardner

The Granada Theatre

Ellen & John Pillsbury

FEBRUARY 13, 2023

FILHARMONIE

BRNO

(OF THE CZECH REPUBLIC)

Sponsors

Edward S. DeLoreto

Lois S. Kroc

Shanbrom Family Foundation

Co-Sponsor

Anonymous

Bob Boghosian &

Beth Gates-Warren

MAY 28, 2023

LOS ANGELES

PHILHARMONIC

Principal Sponsors

Mosher Foundation


Sponsors

Bitsy & Denny Bacon and

The Becton Family Foundation

Judith L. Hopkinson

Sara Miller McCune

The Towbes Fund for the

Performing Arts, a field of interest

fund of the Santa Barbara Foundation

George & Judy Writer

Co-Sponsor

Robert & Christine Emmons

MASTERSERIES

AT THE LOBERO THEATRE

SEASON SPONSORSHIP: ESPERIA FOUNDATION

OCTOBER 24, 2022

JUILLIARD STRING

QUARTET

EXCLUSIVE SPONSOR

Bitsy & Denny Bacon

DECEMBER 7, 2022

HÉLÈNE GRIMAUD, piano

Sponsor

Alison & Jan Bowlus

Co-Sponsors

CAMA Women’s Board

Nancy & Byron K. Wood

Concert Partners

Stephen Cloud


Les & Maureen Shapiro

MARCH 4, 2023

LOS ROMEROS

THE ROMERO

GUITAR QUARTET

“THE ROYAL FAMILY OF THE GUITAR”

Presented by CAMA and

the Lobero Theatre Foundation

In Celebration of the Lobero’s

150th Anniversary

(February 22, 1873 – February 22, 2023)

EXCLUSIVE SPONSOR

Marta Babson

APRIL 24, 2023

AUGUSTIN

HADELICH, solo violin

EXCLUSIVE SPONSOR

Jocelyne & William Meeker

Remembering

ANDRE SALTOUN

Gifts made in Memory of Andre Saltoun

Helen Arnold

Melvin Brooks

Sumner Fein

Rosalind Amorteguy-

Fendon & Ronald Fendon

Eunice & J.Thomas Fly

Priscilla & Jason Gaines

Elliot Gross

Joanne C. Holderman

Susan Johnston


Paul Levine

Nancy Lynn

Jaclyn Maduff

Lesli Marasco

Sara Miller McCune

Frank McGinity |

Debbie Geremia

Sandra Merwizer

Jason Saltoun-Ebin

Stuart Silverman

Hayley Thompson

Nancy & Byron Kent Wood

Patricia Yzurdiaga

CAMA fondly remembers Andre Meir Saltoun,

former Board Director and Director Emeritus,

who was cherished by the Community Arts

Music Association community. Andre joined

the CAMA Board in 2005 and served for

14 years, including as President from 2012

through 2015.

Born in Iraq and fluent in French, Arabic

and English, a teacher encouraged Andre to

pursue higher education in the United States.

Andre undertook a harrowing journey which

included traveling on a coal boat filled with

unsavory characters from France to Texas.

A loan from a boat officer enabled Andre to

get to the East Coast where bridge games

and washing dishes paid for his successful

completion of an undergraduate degree at

the University of North Carolina at Chapel Hill.

Andre attended the University of

Wisconsin Law School where he served as

managing editor of the Wisconsin Law Review.

Upon graduation, he accepted an offer at the

first and only international law firm at the

time, Baker & McKenzie in Chicago. Given

his language skills and counsel to American

and French multinationals, Andre worked

closely with another senior partner, Christine

Lagarde of Baker & McKenzie, Paris, who currently

serves as President of the European

Central Bank. Andre was awarded the French

Legion of Honor in 1975, the highest decoration

awarded to a civilian by France, for the

many years he served as legal counsel to the

French government in Chicago.

In the late 1980s Andre moved to San

Francisco where he met his wife, Michele. As

they looked forward to Andre’s retirement in

2005, the couple chose Montecito as their

home. Andre enjoyed an active life in Santa

Barbara that included memberships at the

Santa Barbara Polo and Racquet Club and

Birnam Wood Golf Club. While Andre served

as an officer and member of numerous committees

during his years on the CAMA Board,

perhaps his greatest contribution was in

skillfully guiding the process by which CAMA

decided to move our International Series

from the Arlington Theatre to the newly renovated

Granada Theatre in 2008.

Andre passed away peacefully at his

Montecito home in July 2020 with his wife,

Michele, by his side.

6 CAMA'S 104 TH CONCERT SEASON


MASTERSERIES AT THE GRANADA THEATRE

SEASON SPONSOR: SAGE PUBLISHING

CHICAGO SYMPHONY ORCHESTRA

RICCARDO MUTI Zell Music Director

Wednesday, January 25, 2023, 7:30PM

The Granada Theatre, Santa Barbara

Ludwig van BEETHOVEN (1770–1827)

Coriolan Overture, Op.62

BEETHOVEN

Symphony No.8 in F Major, Op.93

1. Allegro vivace con brio

2. Allegretto scherzando

3. Tempo di menuetto

4. Allegro vivace

INTERMISSION

Anatoly LYADOV (1855–1914)

The Enchanted Lake, Op.62

Modest MUSSORGSKY (1839–1881)

Pictures from an Exhibition

{orch. Maurice RAVEL (1875–1937)}

Promenade

1. Gnomus {Gnome}

Promenade—

2. Il vecchio castello {The Old Castle}

Promenade—

3. Tuileries (Dispute d'enfants après jeux)

{Tuileries (Children's Quarrel after Games)}

4. Bydło {Cattle}

Promenade—

5. Балет невылупившихся птенцов

{Ballet of the Chicks in their Shells}

6. „Samuel“ Goldenberg und „Schmuÿle“

{“Samuel” Goldenberg and “Schmuÿle”}

7. Limoges. Le marché (La grande nouvelle)

{Limoges. The Market (The Great News)}

8. Catacombæ (Sepulcrum romanum)—

Promenade: Con [sic] mortuis in lingua mortua

{Catacombs (Roman tomb)—Promenade:

With the dead in a dead language}

9. Избушка на курьих ножках (Баба-Яга)

{The Hut on Hen’s Legs (Baba-Yaga)}—

10. Богатырские ворота

(В стольном городе во Киеве)

{The Bogatyr Gates (In the Capital in Kiev)}

(“The Great Gate of Kiev”)

Program subject to change.

The Chicago Symphony Orchestra’s North American Tour is generously sponsored by the Zell Family Foundation.

CAMA thanks our generous sponsors who have made this evening’s performance possible:

International Series Season Sponsor: SAGE Publishing

Primary Sponsors: Northern Trust • Anonymous • CAMA Board of Directors

Principal Sponsors: Herbert & Elaine Kendall Foundation • Kum Su Kim & John Perry

Sponsors: Alison & Jan Bowlus • Edward S. DeLoreto • Bob & Val Montgomery • Michele Saltoun

Co-Sponsors: Peggy & Kurt Anderson • Bob Boghosian & Beth Gates-Warren

Dorothy & John Gardner • The Granada Theatre • Ellen & John Pillsbury

We request that you switch off cellular phones, watch alarms and pager signals during the performance. The photographing

or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.

CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA

7

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CHICAGO SYMPHONY

ORCHESTRA

The Chicago Symphony Orchestra is consistently

hailed as one of the world’s leading

orchestras, and in September 2010,

renowned Italian conductor Riccardo Muti

became its tenth music director. During

his tenure, the Orchestra has deepened its

engagement with the Chicago community,

nurtured its legacy while supporting a new

generation of musicians and composers,

and collaborated with visionary artists.

The history of the Chicago Symphony

Orchestra began in 1889, when Theodore

Thomas, then the leading conductor in

America and a recognized music pioneer,

was invited by Chicago businessman

Charles Norman Fay to establish a symphony

orchestra here. Thomas’s aim to build

a permanent orchestra with performance

capabilities of the highest quality was realized

at the first concerts in October 1891

in the Auditorium Theatre. Thomas served

as music director until his death in January

1905—just three weeks after the dedication

of Orchestra Hall, the Orchestra’s permanent

home designed by Daniel Burnham.

Frederick Stock, recruited by Thomas


9

The CAMA Women’s Board invites you to

SAVE THE DATE!

with cocktails and

hors d’oeuvres at

The Cabrillo Pavilion

Monday

March 20, 2023

5:30–7:30 pm


(805) 966-4324

info@camasb.org

www.camasb.org

to the viola section in 1895, became assistant

conductor in 1899 and succeeded

the Orchestra’s founder. His tenure lasted

37 years, from 1905 to 1942—the longest

of the Orchestra’s music directors. Dynamic

and innovative, the Stock years saw the

founding of the Civic Orchestra of Chicago,

the first training orchestra in the United

States affiliated with a major symphony

orchestra, in 1919. Stock also established

youth auditions, organized the first subscription

concerts especially for children

and began a series of popular concerts.

Three eminent conductors headed the

Orchestra during the following decade: Désiré

Defauw was music director from 1943

to 1947; Artur Rodzinski assumed the post

in 1947–48; and Rafael Kubelík led the

ensemble for three seasons from 1950 to

1953. The next ten years belonged to Fritz

Reiner, whose recordings with the Chicago

Symphony Orchestra are still considered

performance hallmarks. It was Reiner who

invited Margaret Hillis to form the Chicago

Symphony Chorus in 1957. For the five seasons

from 1963 to 1968, Jean Martinon

held the position of music director.

Sir Georg Solti, the Orchestra’s eighth

music director, served from 1969 until

1991. His arrival launched one of the most

successful musical partnerships of our

time, and the CSO made its first overseas

tour to Europe in 1971 under his direction,

along with numerous award-winning recordings.

Solti then held the title of music

director laureate and returned to conduct

the Orchestra for several weeks each season

until his death in September 1997.

Daniel Barenboim was named music

director designate in January 1989, and he

became the Orchestra’s ninth music director

in September 1991, a position he held until

June 2006. His tenure was distinguished by

the opening of Symphony Center in 1997,

highly praised operatic productions at Orchestra

Hall, numerous appearances with

the Orchestra in the dual role of pianist and

conductor, twenty-one international tours,

and the appointment of Duain Wolfe as the

Chorus’s second director.

Pierre Boulez’s long-standing relationship

with the Orchestra led to his appointment

as principal guest conductor in 1995.

He was named Helen Regenstein Conductor

Emeritus in 2006, a position he held until

his death in January 2016. Only two others

have served as principal guest conductors:

Carlo Maria Giulini, who appeared in Chicago

regularly in the late 1950s, was named

to the post in 1969, serving until 1972; Claudio

Abbado held the position from 1982 to

1985. From 2006 to 2010, Bernard Haitink

was the Orchestra's first principal conductor.

Cellist Yo-Yo Ma served as the CSO’s

Judson and Joyce Green Creative Consultant

from 2010 to 2019. Hilary Hahn currently

is the CSO’s Artist-in-Residence, a

role that brings her to Chicago for multiple

residencies each season.

Jessie Montgomery was appointed

Mead Composer-in-Residence in 2021. She

follows ten highly regarded composers

in this role, including John Corigliano and

Shulamit Ran—both winners of the Pulitzer


11

Prize for Music. In addition to composing

works for the CSO, Montgomery curates the

contemporary MusicNOW series.

The Orchestra first performed at Ravinia

Park in 1905 and appeared frequently

through August 1931, after which the park

was closed for most of the Great Depression.

In August 1936, the Orchestra helped

to inaugurate the first season of the Ravinia

Festival, and it has been in residence nearly

every summer since.

Since 1916, recording has been a significant

part of the Orchestra’s activities.

Releases on CSO Resound, the Orchestra’s

independent recording label, include the

Grammy Award–winning release of Verdi’s

Requiem led by Riccardo Muti. Recordings

by the Chicago Symphony Orchestra and

Chorus have earned sixty-three Grammy ®

Awards from the Recording Academy.




RICCARDO

MUTI

conductor

Riccardo Muti is one of the world’s preeminent

conductors. In 2010, he became

the tenth music director of the Chicago

Symphony Orchestra. Muti’s leadership

has been distinguished by the strength of

his artistic partnership with the Orchestra;

his dedication to performing great works

of the past and present, including 15 world

premieres to date; the enthusiastic reception

he and the CSO have received on national

and international tours; and eleven

recordings on the CSO Resound label,

with three Grammy awards among them.

In addition, his contributions to the cultural

life of Chicago—with performances

throughout its many neighborhoods and at

Orchestra Hall—have made a lasting impact

on the city.

Born in Naples, Riccardo Muti studied

piano under Vincenzo Vitale at the Conservatory

of San Pietro a Majella, graduating

with distinction. He subsequently received

a diploma in composition and conducting

from the Giuseppe Verdi Conservatory in

Milan under the guidance of Bruno Bettinelli

and Antonino Votto.

He first came to the attention of critics

and the public in 1967, when he won

the Guido Cantelli Conducting Competition,

by unanimous vote of the jury, in Milan. In

1968, he became principal conductor of the

Maggio Musicale Fiorentino, a position he

held until 1980. In 1971, Muti was invited by

Herbert von Karajan to conduct at the Salzburg

Festival, the first of many occasions,

which led to a celebration of fifty years of

artistic collaboration with the Austrian festival

in 2020. During the 1970s, Muti was

chief conductor of London’s Philharmonia

Orchestra (1972–1982) succeeding Otto


13

Klemperer. From 1980 to 1992, he inherited

the position of music director of the Philadelphia

Orchestra from Eugene Ormandy.

From 1986 to 2005, he was music director

of Teatro alla Scala, and during this

time, he directed major projects such as the

three Mozart/Da Ponte operas and Wagner’s

Ring cycle in addition to his exceptional

contributions to the Verdi repertoire.

Alongside the classics, he brought many

rarely performed and neglected works to

light, including pieces from the Neapolitan

school, as well as operas by Gluck, Cherubini

and Spontini. Poulenc’s Dialogues of the

Carmelites earned Muti the prestigious Abbiati

Prize. His tenure as music director of

Teatro alla Scala, the longest in its history,

culminated in the triumphant reopening of

the restored opera house on December 7,

2004, with Salieri’s Europa riconosciuta.

Over the course of his extraordinary career,

Riccardo Muti has conducted the most

important orchestras in the world: from the

Berlin Philharmonic to the Bavarian Radio

Symphony Orchestra and from the New

York Philharmonic to the Orchestre National

de France; as well as the Vienna Philharmonic,

an orchestra to which he is linked by

particularly close and important ties, and

with which he has appeared at the Salzburg

Festival since 1971.

When Muti was invited to lead the Vienna

Philharmonic’s 150th-anniversary

concert, the orchestra presented him with

the Golden Ring, a special sign of esteem

and affection, awarded only to a few select

conductors. In 2021, he conducted the

Vienna Philharmonic in the New Year’s

Concert for the sixth time, having previously

led the concert in 1993, 1997, 2000,

2004, and 2018. The 2018 recording went

double platinum, and the 2021 concert

received the prestigious audience award,

the Romy Prize in the TV Moment of the

Year category.

In April 2003, the French national radio

channel, France Musique, broadcast a

“Journée Riccardo Muti,” consisting of fourteen

hours of his operatic and symphonic

recordings made with all the orchestras

he has conducted throughout his career.

On December 14 of the same year, he conducted

the long-awaited opening concert of

the newly renovated La Fenice opera house

in Venice. Radio France broadcast another

“Riccardo Muti Day” on May 17, 2018, when

he led a concert at the Auditorium de la

Maison de la Radio.

Muti’s recording activities, already notable

by the 1970s and distinguished since

by many awards, range from symphonic

music and opera to contemporary compositions.

The label RMMusic is responsible

for Riccardo Muti’s recordings.

Muti has received numerous international

honors over the course of his career.

He is Cavaliere di Gran Croce of the Italian

Republic and a recipient of the German Verdienstkreuz.

He received the decoration of

Officer of the Legion of Honor from French

President Nicolas Sarkozy in a private ceremony

held at the Élysée Palace. He was

made an honorary Knight Commander of

the British Empire by Queen Elizabeth II in


Britain. The Salzburg Mozarteum awarded

him its silver medal for his contribution to

Mozart’s music, and in Vienna, he was elected

an honorary member of the Gesellschaft

der Musikfreunde, Vienna Hofmusikkapelle

and Vienna State Opera. The State of Israel

has honored him with the Wolf Prize in the

arts. In July 2018, President Petro Poroshenko

presented Muti with the State Award

of Ukraine during the Roads of Friendship

concert at the Ravenna Festival in Italy following

earlier performances in Kiev. In October

2018, Muti received the prestigious

Praemium Imperiale for Music of the Japan

Arts Association in Tokyo.

In September 2010, Riccardo Muti became

music director of the Chicago Symphony

Orchestra and was named 2010 Musician

of the Year by Musical America. At

the 53rd annual Grammy Awards ceremony

in 2011, his live performance of Verdi’s

Messa da Requiem with the Chicago Symphony

Orchestra and Chorus was awarded

Grammy awards for Best Classical Album

and Best Choral Performance. In 2011,

Muti was selected as the recipient of the

coveted Birgit Nilsson Prize, presented in a

ceremony at the Royal Opera in Stockholm

in the presence of King Carl XVI Gustaf and

Queen Silvia. In 2011, he received the Opera

News Award in New York City, and he

was awarded Spain’s prestigious Prince of

Asturias Prize for the Arts. That summer,

he was named an honorary member of the

Vienna Philharmonic and honorary director

for life of the Rome Opera. In May 2012, he

was awarded the highest papal honor: the

Knight of the Grand Cross First Class of

the Order of St. Gregory the Great by Pope

Benedict XVI. In 2016, he was honored by

the Japanese government with the Order

of the Rising Sun, Gold and Silver Star. In

2021, Muti received the Great Golden Decoration

of Honor for Services to the Republic

of Austria, the highest possible civilian

honor from the Austrian government. Muti

has received more than twenty honorary

degrees from the most important universities

in the world.

Passionate about teaching young musicians,

Muti founded the Luigi Cherubini

Youth Orchestra in 2004 and the Riccardo

Muti Italian Opera Academy in 2015.

Through Le vie dell’Amicizia (The Roads of

Friendship), a project of the Ravenna Festival

in Italy, he has conducted in many of

the world’s most troubled areas in order to

bring attention to civic and social issues.

Riccardo Muti’s vast catalog of recordings,

numbering in the hundreds, ranges

from the traditional symphonic and operatic

repertoires to contemporary works. He

also has written four books: Verdi, l’italiano

and Riccardo Muti, An Autobiography: First

the Music, Then the Words, both of which

have been published in several languages;

as well as Infinity Between the Notes: My

Journey Into Music, published in May 2019,

and The Seven Last Words of Christ: a Dialogue

with Massimo Cacciari, published in

2020; both titles are available in Italian.

www.riccardomuti.com

www.riccardomutioperacademy.com


15

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© Monie Photography

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NOTES

ON THE PROGRAM

By Phillip Huscher

LUDWIG VAN BEETHOVEN

Born December 16, 1770; Bonn, Germany

Died March 26, 1827; Vienna, Austria

Coriolan Overture, Op.62

COMPOSED 1807

FIRST PERFORMANCE March 1807;

Vienna, Austria

INSTRUMENTATION two flutes, two

oboes, two clarinets, two bassoons, two

horns, two trumpets, timpani, strings

APPROXIMATE PERFORMANCE TIME

8 minutes

Richard Wagner was right to point out that

Beethoven might as well have written this

overture for Shakespeare’s tragedy Coriolanus

as for the play by Heinrich von Collin.

Unlike Wagner and most concertgoers

today, Beethoven knew both plays. He admired

and loved Shakespeare enormously.

But Collin was a friend of his, and his Coriolan

had enjoyed considerable popularity

in the years immediately following its

first performance in 1802. Beethoven was

inspired, either by friendship or theater,

to put something of the story into music.

Beethoven didn’t write his overture for a

theatrical performance; he was writing for

an audience that probably knew Collin’s

play but was not attending an actual production.

The first performance was given at

one of two concerts at the palace of Prince

Lobkowitz, where it was overshadowed by

the premieres of the more genial Fourth

Symphony and the Fourth Piano Concerto.

The overture and the play were united just

once in Beethoven’s lifetime, in April 1807,

at the Burgtheater in Vienna, apparently

without success.

The Coriolan Overture is terse and

strongly knit; it is as compact as anything

Beethoven had written at the time.

Beethoven finds enormous power in C minor,

his favorite minor key. (Sketches for

his Fifth Symphony, in the same key, were

already well advanced at the time.) As in

his Leonore Overture No.3, finished the year

before, he understood how to manipulate

the outlines of sonata form to accommodate

human drama. (Here, only the second

theme appears in the recapitulation.)

Wagner described Beethoven’s overture

as a musical counterpart to the turning


17

point in Shakespeare’s Coriolanus. Many

listeners have heard, in its tightly worded

argument, the conflict between Coriolanus,

the exiled leader who marches against his

own people, and his mother Volumnia, who

pleads for mercy until her son finally yields.

The main themes readily lend themselves

to this reading—the first fierce and determined,

the second earnest and imploring.

In the play, Coriolanus commits suicide;

Beethoven’s music disintegrates at the end.

Beethoven surely identified with Coriolanus’s

lonely pride, for it marked every day of

his own life. And, although his tough public

image and brilliantly triumphant music argue

otherwise, we now know that he, too,

fought recurring suicidal tendencies.

BEETHOVEN

Symphony No.8 in F Major,

Op.93

COMPOSED 1811-1812

FIRST PERFORMANCE February 17, 1814;

Vienna, Austria

INSTRUMENTATION two flutes, two

oboes, two clarinets, two bassoons, two

horns, two trumpets, timpani, strings

APPROXIMATE PERFORMANCE TIME

27 minutes

In a life characterized by difficulties—with

people, work, romance, and more—1812

may well have been the most difficult year

Beethoven ever had. In any case, the toll


was great: in October, shortly after he finished

his Eighth Symphony, Beethoven

sank into a serious depression, finding creativity

a tiresome effort. Over the next two

years, he wrote only the two cello sonatas,

Op.102, and a handful of occasional pieces.

The main problem of 1812 involved

an unknown woman, who has come to be

known as the “Immortal Beloved.” Conjecture

about her identity is one of the favorite

games of Beethoven scholarship. (In his

watershed biography of Beethoven, Maynard

Solomon suggests Amalie Brentano,

who is the most plausible.) The evidence

is slight—essentially little more than the

astonishing letter Beethoven wrote on July

6 and 7, which was discovered among his

papers after his death. It’s Beethoven’s only

letter to a woman that uses the informal German

du, and, in its impassioned, unsparing

tone, it tells us much about the composer, if

nothing at all about the woman in question.

This wasn’t the last time Beethoven would

find misery and longing where he sought romance

and domestic harmony, but it’s the

most painful case we have record of, and

it certainly helped to convince him that he

would remain alone—and lonely—for life.

The diary he began in late 1812 finds him

despondent at the failure of his relationships

and more determined than ever in his

single-minded dedication to music. It also

admits thoughts of suicide.

Beethoven’s Eighth Symphony quickly

followed his Seventh, and, particularly in

light of its predecessors, it was misunderstood

from the start. When Beethoven was

reminded that the Eighth was less successful

than his Seventh, he is said to have replied:

“That’s because it is so much better.”

Contemporary audiences are seldom the

best judges of new music, but Beethoven’s

latest symphony must have seemed a letdown

at the time, for, after symphonies

of unexpected power and unprecedented

length, with movements that include thunder

and lightning and that lead directly from

one to another, the Eighth is a throwback to

an easier time. The novelty of this symphony,

however, is that it manages to do new

and unusual things without ever waving the

flag of controversy.

The first movement, for example, is of

modest dimensions, with a compact first

theme—its first two quick phrases like a

textbook definition of antecedent-consequent

(question-and-answer) structure. The

next subject comes upon us without warning—unless

two quiet measures of expectant

chords have tipped us off. The whole

moves like lightning, and when we hit the

recapitulation—amid thundering fff timpani,

with a new singing theme high above the

original tune, we can hardly believe we’re

already home. But just when Beethoven

seems about to wrap things up, he launches

into a giant epilogue that proves, in no

uncertain terms, just how far we’ve come

from the predictable, four-square proportions

of the works by Haydn and Mozart.

For early nineteenth-century audiences

who were just getting used to Beethoven’s

spacious slow movements, the second

movement of the Eighth was a puzzle, for

it’s neither slow nor long. It is also, through

no fault of its own, nothing like the second


19

Montage Community Concert

Department of Music, UC Santa Barbara and Friends

Sunday February 26, 2023

4pm to 5pm

Marjorie Luke Theatre

Free and open to the public

Sponsor

Elaine F. Stepanek Foundation


movement of Beethoven’s Seventh Symphony,

which had been an instant and tremendous

hit. The incredible nineteenth-century

practice of inserting that beloved slow

movement into the Eighth Symphony says

more about the tastes of earlier generations

than about any supposed deficiencies

in Beethoven’s Allegretto. The scherzo that

follows isn’t a scherzo at all, but a leisurely,

old-world minuet, giving us all the room and

relaxation we missed in the Allegretto. As

always, there’s method in Beethoven’s madness,

though it was often only the madness

that got noticed.

In the context of the composer’s personal

sorrows of 1812, it’s either astonishing

or perfectly predictable—depending on

your outlook on human nature—that the

finale is one of the funniest pieces of music

Beethoven ever wrote. The tone is jovial

from the start—a light, rambunctious

theme—and the first real joke comes at the

very end of that theme, when Beethoven

tosses out a loud unison C-sharp—an odd

exclamation point for an F-major sentence.

Many moments of wit follow: tiny whispers

that answer bold declarations; gaping

pauses when you can’t help but question

what will happen next; places where

Beethoven seems to enjoy tugging on the

rug beneath our feet. But he saves his best

punch line for last, and he has been working

up to it all along. When that inappropriate

C-sharp returns one last time—as it

was destined to do, given the incontestable

logic of Beethoven’s wildest schemes—it’s

no longer a stumbling block in an F-major

world, but a gateway to the unlikely key of

F-sharp minor. It takes some doing to pull

us back to terra firma: the trumpets begin

by defiantly hammering away on F-natural,

and Beethoven spends the last pages endlessly

turning somersaults through F major,

until memories of any other sounds are

banished for good.

ANATOLY LYADOV

Born May 11, 1855;

Saint Petersburg, Russia

Died August 28, 1914;

Polïnovka, Novgorod District, Russia

The Enchanted Lake, Op. 62

COMPOSED 1909

Anatoly Lyadov is best known for the music

he didn’t write. He regularly surfaces

in music histories not as the composer of

a handful of exquisitely crafted orchestral

pieces, including The Enchanted Lake, but

as the man who blew his chance to write

The Firebird, which of course turned out to

be a career-making hit for Igor Stravinsky.

According to the most familiar—though

unsubstantiated—version, Lyadov had only

just gotten around to buying his manuscript

paper when the first installment of the score

was due, forcing Sergei Diaghilev, who

was staging the ballet, to fire him from the

job. But in fact, Lyadov wasn’t even Diaghilev’s

first choice—the assignment

had originally gone to Nikolai Tcherepnin,

who withdrew—and he declined Diaghilev’s

offer from the start, for reasons we may

never adequately understand.


21


IRA GIFTS TO CAMA

Timely and Tax-Wise

If you have not yet withdrawn all your Required Minimum Distribution

(RMD) from your Individual Retirement Account (IRA) for the 2022

calendar year, you may use your IRA to make a tax-wise gift to

Community Arts Music Association (CAMA) before December 31, 2022.

You must be at least 70 or older to roll over IRA assets to meet your

RMD requirement. On withdrawals of up to $100,000 you do not have

to pay any income tax and CAMA will receive full value of your gift.

Please consider CAMA when you plan for your year-end giving.

Contact your IRA plan administrator to request a direct transfer of

your specified gift amount to CAMA, 2060 Alameda Padre Serra,

Suite 201, Santa Barbara, CA 93103. As a a qualified charity, the check

will then be sent directly to CAMA (Federal Tax ID # 95-1816010).

You will not be required to declare this withdrawal amount as part

of your taxable income for 2022, as rollover gifts such as these are

not counted as part of your income. These gifts do not qualify for

an itemized charitable deduction, meaning this option works to the

advantage for the majority of taxpayers who do not itemize charitable

contributions, but rather take the standard deduction.

Thank you for your support of CAMA. If you have any questions,

please contact Elizabeth Alvarez, Director of Development at

Elizabeth@camasb.org.

Anatoly Lyadov

Early on, Lyadov had earned a reputation

as a slacker. He regularly cut classes at

the Saint Petersburg Conservatory—“he

simply could not be bothered,” said Rimsky-

Korsakov, who was his teacher and found

him “irresponsible.” Sergei Prokofiev, who

later studied with Lyadov and admired him

greatly, admitted in his memoirs that “Laziness

was [his] most remarkable feature.”

But from the start of his career, Lyadov also

had drawn attention for the boldness and

orchestral brilliance of his compositions.

As early as 1873—the time of his first songs,

eventually published as his Op.1—Mussorgsky

described him as “a new, unmistakable,

original, and Russian young talent.”

Igor Stravinsky, who owed his overnight

fame to Lyadov’s withdrawing, later

said he liked Lyadov’s music, but that he

“could never have written a long and noisy

ballet like The Firebird.” (“He was more relieved

than offended, I suspect, when I accepted

the commission,” Stravinsky said.)

Throughout his life, Stravinsky was quick

to defend Lyadov, claiming that he was a

charming and cultured man—“He always

carried books under his arm—Maeterlinck,

E.T.A. Hoffmann, Andersen: he liked tender,

fantastical things”—and, above all, that he

was “the most progressive of the musicians

of his generation.” Lyadov had championed

Stravinsky’s own early works before others

saw his genius, and once, in Stravinsky’s

presence, he defended Scriabin, whose music

had not yet found an audience. It’s hard

to know what Stravinsky really thought of

Lyadov as a composer; he wrote admiringly

of his sense of harmony and instrumental

color, but he also called him “short-winded”—that

is to say, in words that Stravinsky

could not bring himself to use, a master of

the miniature. (This was, after all, the era

of the Big Piece: Mahler’s Sixth, Seventh,

and Eighth symphonies; Strauss’s Sinfonia

domestica; and Schoenberg’s Pelleas und

Melisande all date from around the time Lyadov

wrote The Enchanted Lake.)

Lyadov’s catalog is slight: several

songs and piano pieces, a handful of choral

compositions, and less than a dozen small

works for orchestra. His most successful

compositions are the three brief descriptive

orchestral pieces based on Russian

fairy tales—Baba-Yaga, Kikimora, and The

Enchanted Lake—and they clearly demonstrate

his mastery, precisely in an art form

where Stravinsky made little headway.

L yadov called The Enchanted Lake a

fable-tableau. “How picturesque it is,” he

wrote to a friend, “how clear, the multitude

of stars hovering over the mysteries of the

deep… only nature—cold, malevolent, and


23

fantastic as a fairy tale.” Lyadov’s music

vividly suggests the serenity and delicate

shadings of the night scene. “One has

to feel the change of the colors, the chiaroscuro,

the incessantly changeable stillness

and seeming immobility.” It may not

be the music of a composer ideally suited

for The Firebird, but as a miniature landscape

of unusual intimacy and finesse, it is

close to perfection.

MODEST MUSSORGSKY

Born March 21, 1839; Karevo, Russia

Died March 28, 1881; St. Petersburg, Russia

Pictures from an Exhibition

(Orchestrated by Maurice Ravel)

COMPOSED for piano, 1874; orchestrated

by Maurice Ravel, summer 1922

When Victor Hartmann died at the age of

thirty-nine, little did he know that the pictures

he left behind—the legacy of an undistinguished

career as artist and architect—

would live on. The idea for an exhibition

of Hartmann’s work came from Vladimir

Stassov, the influential critic who organized

a show in Saint Petersburg in the spring of

1874. But it was Modest Mussorgsky, so

shocked at the unexpected death of his

dear friend, who set out to make something

of this loss. “Why should a dog, a horse,

a rat have life,” he is said to have asked,

paraphrasing King Lear, “and creatures like

Hartmann must die?”

Stassov’s memorial show gave

Mussorgsky the idea for a suite of piano

pieces that depicted the composer “roving

through the exhibition, now leisurely,

now briskly, in order to come closer to a

picture that had attracted his attention,

and at times sadly, thinking of his departed

friend.” Mussorgsky worked feverishly that

spring, and by June 22, 1874, Pictures from

an Exhibition was finished. Mussorgsky

may well have had an inflated impression

of Hartmann’s artistic importance (as

friends often do), but these Pictures guaranteed

Hartmann a place in history that

his art alone could never have achieved.

There’s no record of a public performance

of Pictures in Mussorgsky’s lifetime, and

the composer didn’t even play the work on

his extensive 1879 concert tour, perhaps

finding it too personal for the stage. It was

left to Rimsky-Korsakov, the musical executor

of Mussorgsky’s estate, to edit the

manuscript and bring Pictures to the light

of day.

The thought of orchestrating Pictures

evidently never occurred to Mussorgsky.

But it has intrigued musicians ever since

his death, and over the years several have

tried their hand at turning Mussorgsky’s

black-and-white pieces into full color. The

earliest was that of Rimsky-Korsakov’s

student, Mikhail Tushmalov, conducted

(and most likely improved) by the teacher

himself. (The Chicago Symphony’s first

performances, in 1920, were of this version.)

In 1915, Sir Henry Wood, an eminent

British conductor, produced a version that

was popular until Maurice Ravel unveiled

his orchestration in 1922.

Although Ravel worked from the


Modest Mussorgsky

same Rimsky-Korsakov edition of Pictures

that Tushmalov and Wood used (he had

tried without success to find a copy of

Mussorgsky’s original, which wasn’t published

until 1930), his orchestral version far

outstrips theirs in the brilliance of its colors

and its sheer ingenuity. Ravel was already

sensitive to Mussorgsky’s style from his collaboration

with Igor Stravinsky on an edition

of Khovanshchina in 1913, and, since most

of his own orchestral works started out as

piano scores, the process of transcription

was second nature to him. Ravel remained

as faithful as possible to the original; only in

the final Great Gate of Kiev did he add a few

notes of his own to Mussorgsky’s.

The success of Ravel’s edition inspired

still further efforts, including one by Leopold

Stokowski that was popular for many

years (the Chicago Symphony played it as

recently as 1998). Mussorgsky’s Pictures

also has been rescored for rock band, brass

ensemble, acoustic guitar, massed accordions,

and even re-arranged for solo piano

by Vladimir Horowitz. (Essentially a piano

transcription of Ravel’s orchestration—a

translation of a translation, in other words—

Horowitz’s Pictures are far removed, stylistically,

from Mussorgsky’s). But Ravel’s orchestration

remains the best-known guide

to Mussorgsky’s picture collection.

Mussorgsky chose eleven of Hartmann’s

works for his set of piano pieces. He

owned the sketches of Samuel Goldenberg

and Schmuÿle, which were combined in one

“picture”; most, though not all, of the other

works were in Stassov’s exhibition. Some of

the original pictures have since disappeared.

(Of the four hundred Hartmann works

exhibited, less than a hundred have come

to light; only six of those in Mussorgsky’s

score can be identified with certainty.)

Mussorgsky referred to Pictures as

“an album series,” implying a random, ad

hoc collection of miniatures, but the score

is a coherently designed whole, organized


25

around a recurring theme and judiciously

paced to progress from short pieces to a

longer, majestic finale—creating a kind of

crescendo effect like that of Schumann’s

Carnaval. Mussorgsky had no use for the

conventional forms of the earlier classical

masters—“I am not against symphonies,”

he once wrote, “just symphonists, incorrigible

conservatives.” We don’t know when

Mussorgsky settled on the overall layout of

his picture series, but a letter he wrote to

Stassov suggests that he had worked on at

least the first five in order, and apparently

had the entire set in mind when he started.

Mussorgsky begins with a promenade,

which takes him into the gallery and

later accompanies him as he walks around

the room, reflecting a change in mood

from one picture to another. (Despite

his girth, Mussorgsky apparently was a

fast walker—the promenade is marked allegro,

rather than andante [Italian for “walking”]—and

Mussorgsky was precise in his

tempo markings.)

1. Gnomus. Hartmann’s drawing,

which has since been lost, was for

a Christmas tree ornament—“a kind

of nutcracker, a gnome into whose

mouth you put a nut to crack,” according

to Stassov’s commentary

in the catalog. Mussorgsky’s music,

with its awkward leaps, bizarre

harmonies, and slippery melodies,

suggests the gnome’s “droll movements”

and “savage shrieks.”

2. The Old Castle. Two drawings of

medieval castles are listed in the

catalog, both sketched while Hartmann

was in France, just before he

met Mussorgsky. The music gives

song to the troubadour standing in

front of the castle. Mussorgsky’s

melody, which Ravel memorably

gives to the alto saxophone, is

clearly indebted to Russian folk

music, despite the provenance of

the castle.

3. Tuileries. Hartmann lived in Paris

long enough to get to know the famous

park with its squabbling children

and their nurses.

4. Bydło. Stassov describes a Polish

wagon (“bydło” is Polish for

cattle) drawn by oxen. Although

Mussorgsky wanted the piece to

begin fortissimo—“right between

the eyes,” as he told Stassov—

Rimsky-Korsakov switched to a

pianissimo opening followed by a

crescendo to create the illusion of

the approaching cart and the tread

of hooves.

5. Ballet of the Chicks in their Shells.

Hartmann designed costumes for

a ballet, Trilbi, in 1871. The music

depicts a scene where “a group of

little boys and girls, pupils of the

Theatre School, dressed as canaries,

scampered on the stage. Some

of the little birds were wearing over

their dresses big eggshells resembling

breastplates.”

6. “Samuel” Goldenberg and “Schmuÿle.”

Mussorgsky owned two drawings

entitled “A Rich Jew in a Fur Hat”


and “A Poor Jew,” to which he gave

proper names. Hartmann, whose

wife was Polish, visited Sandomierz,

in southern Poland, in 1868;

there he painted scenes and characters

in the Jewish ghetto, including

these two men, as well as Bydło.

7. The Marketplace at Limoges. Hartmann

did more than a hundred

and fifty watercolors of Limoges

in 1866, including many genre pictures.

In the margin of his score,

Mussorgsky brings the scene to life:

“Great news! M. de Puissangeout

has just recovered his cow… Mme

de Remboursac has just acquired

a beautiful new set of teeth, while

M. de Pantaleon’s nose, which is

in his way, is as much as ever the

color of a peony.”

8. Catacombs: Sepulcrum romanum.

Hartmann, a friend, and a guide

with a lamp explore underground

Paris; to their right in Hartmann’s

watercolor is a pile of skulls. ⫻

Promenade: Con [sic] mortuis in

lingua mortua. At the end of Catacombs,

Mussorgsky penciled in

his manuscript: “Con [sic] mortuis

in lingua mortua” (With the dead in

a dead language), signaling the

start of this mournful rendition of

the promenade.

9. The Hut on Hen’s Legs (Baba-Yaga).

Hartmann sketched a clock of

bronze and enamel in the shape

of the hut of the witch Baba-Yaga.

Mussorgsky concentrates not on

the clock, but on the child-eating

Baba-Yaga herself, who, according

to Russian folk literature, lived

deep in the woods in a hut on hen’s

legs, which allowed her to rotate to

confront each approaching victim.

(Incidentally, Stassov’s first impression

of Hartmann was of him

dressed as Baba-Yaga at a masked

ball in 1861.)

10. The Great Gate of Kiev. Hartmann

entered this design in a competition

for a gateway to Kiev that

was ultimately called off for lack

of funds. Hartmann modeled his

gate on the traditional headdress

of Russian women, with the belfry

shaped like the helmet of Slavonic

warriors. Mussorgsky’s piece, with

its magnificent climaxes and pealing

bells, finds its ultimate realization

in Ravel’s orchestration.

A word about our title. Pictures at an Exhibition

has long been the traditional English

title for this score, but Pictures from an

Exhibition is a more accurate translation

of Mussorgsky’s original title in Russian,

Картинки с выставки. Grove Music, the

industry standard, also now uses Pictures

from an Exhibition as the preferred title.

Phillip Huscher is the program annotator for

the Chicago Symphony Orchestra.


27

CHICAGO SYMPHONY ORCHESTRA

RICCARDO MUTI, Zell Music Director

Jessie Montgomery, Mead Composer-in-Residence

Hilary Hahn, Artist-in-Residence

VIOLINS

Robert Chen Concertmaster

The Louis C. Sudler Chair,

endowed by an anonymous

benefactor

Stephanie Jeong

Associate Concertmaster

The Cathy and Bill Osborn Chair

David Taylor

Assistant Concertmaster *

The Ling Z. and Michael C.

Markovitz Chair

Yuan-Qing Yu

Assistant Concertmaster *

So Young Bae

Cornelius Chiu

Alison Dalton ‡

Gina DiBello ‡

Kozue Funakoshi

Russell Hershow

Qing Hou

Matous Michal

Simon Michal

Blair Milton ‡

Sando Shia

Susan Synnestvedt

Rong-Yan Tang §

Baird Dodge Principal

Lei Hou

Ni Mei

Hermine Gagné

Rachel Goldstein

Mihaela Ionescu

Sylvia Kim Kilcullen

Melanie Kupchynsky

Wendy Koons Meir

Aiko Noda ‡

Joyce Noh

Nancy Park

Ronald Satkiewicz

Florence Schwartz

VIOLAS

Li-Kuo Chang

Assistant Principal §

Catherine Brubaker

Beatrice Chen

Youming Chen

Sunghee Choi ‡

Wei-Ting Kuo

Danny Lai

Weijing Michal ‡

Diane Mues

Lawrence Neuman

Max Raimi

CELLOS

John Sharp Principal

The Eloise W. Martin Chair

Kenneth Olsen

Assistant Principal

The Adele Gidwitz Chair

Karen Basrak

The Joseph A. and Cecile

Renaud Gorno Chair

Loren Brown

Richard Hirschl

Daniel Katz

Katinka Kleijn

David Sanders

Gary Stucka

Brant Taylor

BASSES

Alexander Hanna Principal

The David and Mary Winton

Green Principal Bass Chair

Daniel Armstrong

Daniel Carson

Robert Kassinger

Mark Kraemer

Stephen Lester

Bradley Opland

HARP

Lynne Turner

FLUTES

Stefán Ragnar Höskuldsson

Principal

The Erika and Dietrich M. Gross

Principal Flute Chair

Yevgeny Faniuk

Assistant Principal

Emma Gerstein ‡

Jennifer Gunn

PICCOLO

Jennifer Gunn

The Dora and John Aalbregtse

Piccolo Chair

OBOES

William Welter Principal

The Nancy and Larry Fuller

Principal Oboe Chair

Lora Schaefer

Scott Hostetler

ENGLISH HORN

Scott Hostetler

CLARINETS

Stephen Williamson Principal

John Bruce Yeh

Assistant Principal

Gregory Smith

E-FLAT CLARINET

John Bruce Yeh

BASSOONS

Keith Buncke Principal

William Buchman

Assistant Principal

Miles Maner


CONTRABASSOON

Miles Maner

HORNS

David Cooper Principal

Daniel Gingrich

Associate Principal

James Smelser

David Griffin

Oto Carrillo

Susanna Gaunt

TRUMPETS

Esteban Batallán Principal

The Adolph Herseth Principal

Trumpet Chair, endowed by

an anonymous benefactor

Mark Ridenour

Assistant Principal

John Hagstrom

The Bleck Family Chair

Tage Larsen

TROMBONES

Jay Friedman Principal

The Lisa and Paul Wiggin

Principal Trombone Chair

Michael Mulcahy

Charles Vernon

BASS TROMBONE

Charles Vernon

TUBA

Gene Pokorny Principal

The Arnold Jacobs Principal

Tuba Chair, endowed by

Christine Querfeld

TIMPANI

David Herbert Principal

The Clinton Family Fund Chair

Vadim Karpinos

Assistant Principal

PERCUSSION

Cynthia Yeh Principal

Patricia Dash

Vadim Karpinos

James Ross

LIBRARIANS

Peter Conover Principal

Carole Keller

Mark Swanson

CSO FELLOW

Gabriela Lara violin

ORCHESTRA

PERSONNEL

John Deverman

Director

Anne MacQuarrie

Manager, CSO Auditions

and Orchestra Personnel

STAGE TECHNICIANS

Christopher Lewis

Stage Manager

Blair Carlson

Paul Christopher

Ryan Hartge

Peter Landry

Joshua Mondie

Todd Snick

EXTRA MUSICIANS

Bernardo Arias violin

Grace Browning harp

Ying Chai violin

Roger Chase viola

Ian Ding percussion

Pauli Ewing violin

Theodore Gabrielides bass

Kiju Joh violin

Kelly Karamanov keyboard

Min Ha Kim flute

Isaac Polinsky bass

James Romain saxophone

Di Shi viola

Judy Stone cello

Jennifer Strom viola

Tamae Clara Takarabe viola

Pavel Vinnitsky clarinet

* Assistant concertmasters are listed by seniority.

‡ On leave

§ On sabbatical

The Paul Hindemith Principal Viola, Gilchrist Foundation, and Louise H. Benton Wagner chairs currently are unoccupied.

The Chicago Symphony Orchestra string sections utilize revolving seating. Players behind the first desk (first two desks

in the violins) change seats systematically every two weeks and are listed alphabetically. Section percussionists also are

listed alphabetically.

The CSO's music director position is endowed in perpetuity by a generous gift from the Zell Family Foundation


29

History

Academy of Ancient Music

Academy of St Martin

in the Fields

Aguilar Lute Quartet of Madrid

American Ballet Theatre

American Youth Symphony

Anonymous 4

Australian Chamber Orchestra

Bahia Orchestra Project

(Núcleos Estaduais de Orquestras

Juvenis e Infantis da Bahia)

Bakhor State Folk Dance

Ensemble from Uzbekistan SSR

Bali Java Dancers

Ballet Russe de Monte Carlo

Barbour Quartet

Barrère Little Symphony

Bavarian Symphony Orchestra

of Munich

BBC Philharmonic

BBC Symphony Orchestra

Beethoven String Quartet

Belcea Quartet

Belgian Piano String Quartet

Berlin Philharmonic Orchestra

Berlin Radio Symphony Orchestra

Bolshoi Symphony Orchestra

Boston Symphony Orchestra

Brentano Quartet

Brodetsky Chamber

Music Ensemble

Bruckner Orchestra Linz

Budapest Festival Orchestra

California Theatre Orchestra

Camerata Musica-Berlin

Le Concert des Nations

La Capella Reial de Catalunya

Carnegie Hall Jazz Band

Chicago Symphony Orchestra

China Philharmonic Orchestra

Choir of New College Oxford

Chorus of School Children

Cincinnati Symphony Orchestra

City Lights Band

City of Birmingham

Symphony Orchestra

Clerbois Little Symphony

Cleveland Orchestra

Col. W. de Basil's Ballets Russes

de Monte Carlo

Community Arts

Association Chorus

Community Arts Choral Society

Community Arts Madrigal Octet

Community Arts Orchestra

Community Arts String Orchestra

Community Orchestra of

Santa Barbara

Concertgebouw Orchestra of

Amsterdam

Contiguglia Brothers,

Duo-Pianists

Czech Philharmonic Orchestra

Dallas Symphony Orchestra

Danish National


Detroit Symphony Orchestra

Dresden Philharmonic Orchestra

Dresden Staatskapelle

(Sächsische Staatskapelle Dresden)

English Baroque Soloists

English Chamber Orchestra

The English Concert

Eroica Trio

Estonian National Symphony

Orchestra

Flonzaley Quartet

Gewandhaus Orchestra

of Leipzig

Gothenburg


Hancock Ensemble

Hart House String Quartet

Helsinki Philharmonic

Hespèrion XXI

Hong Kong

Philharmonic Orchestra

Houston Symphony Orchestra

Hungarian National


Jerusalem Symphony Orchestra

Jooss European Ballet

Juilliard String Quartet

Junior Orchestra

(Community Arts Association)

Kafkaz Dance Ensemble

Kalichstein-Laredo-Robinson Trio

Kedroff Quartet

Kirov Orchestra of the Mariinsky

Theatre/Mariinsky Orchestra

Kolisch String Quartet

Krasnayarsk Dance Company

of Siberia

Kremerata Baltica

Lietuva Folk Song and Dance

Ensemble of Lithuania

London Chamber Orchestra

London Philharmonic Orchestra

London String Quartet

London Symphony Orchestra

Los Angeles Chamber Orchestra

Los Angeles Philharmonic

Chamber Orchestra

Los Angeles Philharmonic

Orchestra (LA Phil)

Los Angeles Symphony Orchestra

Martha Graham and Company

Maurice Faulkner Brass Quintet

(Department of Music,

UC Santa Barbara)

Mazowsze Dance Company

Menuhin Festival Orchestra

of London

Minnesota Orchestra


Orchestras & Ensembles (1920–2022)

Montreal Symphony Orchestra

(Orchestre symphonique

de Montréal)

Moscow Philharmonic Orchestra

Moscow State Radio


Moscow Virtuosi

National Philharmonic of Russia

National Symphony Orchestra

NDR Symphony Orchestra

of Hamburg

Negaunee Conducting Program

Call-Back Auditions, with

Philharmonia Orchestra

New York Philharmonic

Opera Santa Barbara Chorus

Orchester der

Beethovenhalle Bonn

L'Orchestre du Capitole

de Toulouse

Orchestra of the

Age of Enlightenment

Orchestra of the

Eighteenth Century

Orchestra of the Royal Opera

House, Covent Garden

Orchestre de la Suisse Romande

Orchestre de Paris

Orchestre National de France

Orchestre Philharmonique de

Radio France

Orpheus Chamber Orchestra

Orquesta Nacional de España

Orquesta Sinfónica del Estado

de México (State Symphony

of Mexico)

Osaka Philharmonic Orchestra

Oslo Philharmonic

Pasquier Trio

Performing Arts Scholarship

Foundation Competition Finals

Persinger String Quartet

Philadelphia Orchestra

Philharmonia Baroque Orchestra

Philharmonia Hungarica Orchestra

Philharmonia of the Nations

Philharmonia Orchestra

Pittsburgh Symphony Orchestra

Polish Chamber Orchestra

Polish National Radio


Prague Chamber Orchestra

Prague Symphony

Pro Arte String Quartet

Promises, Promises (Musical)

Radio Symphony Orchestra

of Berlin

Roger Wagner Chorale

Roth String Quartet

Rotterdam


Royal Philharmonic Orchestra

Royal Scottish National Orchestra

Russian National Orchestra

Russian Revue

Saint Paul Chamber Orchestra

Salzedo Harp Ensemble

San Francisco Ballet

San Francisco Symphony

San Marcos High School

Madrigal Singers

Santa Barbara Band

Santa Barbara Choral Club

Santa Barbara Symphony

Brass Quintet

Schleswig-Holstein

Festival Orchestra

School Children's Choruses

(Community Arts Association)

Seattle Symphony

Seoul Philharmonic Orchestra

Sérgio & Odair Assad,

Duo-Guitarists

Shanghai Symphony Orchestra

SING! Program (Music Academy

of the West)

Sofia Philharmonic Orchestra

I Solisti di Zagreb

Sonos5winds (Westmont Music)

State Symphonic Kapelle of

Moscow (Soviet Philharmonic)

St. Lawrence String Quartet

St. Louis Symphony Orchestra

St. Petersburg Philharmonic

(Leningrad Philharmonic)

State Symphony Orchestra

of Russia (State Symphony

Orchestra of the U.S.S.R.)

Symphony Orchestra of the

Florence Festival

Tafelmusik Baroque Orchestra

The Tallis Scholars

Tetzlaff Quartet

Tetzlaff-Vogt Duo

Tokyo Symphony Orchestra

Toronto Symphony

UCSB Flute Ensemble

Utah Symphony Orchestra

Van der Voort Ensemble

Vancouver Symphony Orchestra

Venice Baroque Orchestra

Vermeer Quartet

Vienna Symphony Orchestra

Les Violons du Roy

Warsaw Philharmonic Orchestra

WDR Symphony

Orchestra, Cologne

Westmont String Trio

Woodwind Quintet of

San Francisco

World's Fair Choirs

Yunost Ukrainian Dance Ensemble

ZAWA!


31

History

Kazuyoshi Akiyama

Nikolai Alexeev

Petr Altrichter

Vladimir Ashkenazy

David Atherton

Avi Avital

Sir John Barbirolli

Daniel Barenboim

Alan Barker

John Barnett

George Barrère

Arturo Basile

Enrique Bátiz

Eduard van Beinum

Joshua Bell

Jiří Bělohlávek

André Bernard

Leonard Bernstein

Arthur Bliss

Herbert Blomstedt

Karl Böhm

Paolo Bortolameolli

Leon Botstein

Julian Brodetsky

Frans Brüggen

Anshel Brusilow

Semyon Bychkov

Miltiades Caridis

Ricardo Castro

Riccardo Chailly

Elim Chan

Carlos Chávez

Lew Christensen

Myung-Whun Chung

Elisa Citterio

Georges (Roger) Clerbois

Léon Clerbois

Anita Cochran

Frederick A. “Fritz” Cohen

Ross Collins

Dennis Russell Davies

Sir Peter Maxwell Davies

Andrew Davis

Sir Colin Davis

Sir Andrew Davis

Christoph von Dohnányi

Antal Doráti

Sir Edward Downes

Gustavo Dudamel

Charles Dutoit

Richard Egarr

Sixten Ehrling

Henry Eichheim

Akira Endo

Philippe Entremont

Mark Ermler

Christoph Eschenbach

Jon Faddis

Jill Felber

Peter Feranec

János Ferencsik

Arthur Fiedler

Iván Fischer

Frank Fisher

Anatol Fistoulari

Angeleita Floyd

Lukas Foss

Lawrence Foster

Justus Frantz

Rafael Frühbeck de Burgos

Sir John Eliot Gardiner

Daniele Gatti

Valery Gergiev

Sir Alexander Gibson

Alan Gilbert

Carlo Maria Giulini

Nikolai Gogotzky

Walter Goldschmidt

Igor Golovchin

Jan Grabia

Hans Graf

Mirga Gražinytė-Tyla

Harold Gregson

Steven Gross

Bernard Haitink

Daniel Harding

Sidney Harth

Walter Hendl

Adam Hickox

Christopher Hogwood

Christine Hollinger

Louis Horst

Jakub Hrůša

Signor Indreani

Konstantin Iliev

José Iturbi

Mariss Jansons

Neeme Järvi

Paavo Järvi

Eugen Jochum

Armin Jordan

Vladimir Jurowski

Jeffrey Kahane

Okku Kamu

Herbert von Karajan

Jacek Kaspszyk

Kevin Kelly

Eri Klas

Otto Klemperer

Paul Kletzki

Zoltán Kocsis

Kazimierz Kord

Gidon Kremer

Josef Krips

Karl Krueger

Rafael Kubelik

Efrem Kurtz


Conductors & Directors (1920–2022)

Jeanne Lamon

John Lanchbery

Erich Leinsdorf

Daniel Lewis

Henry Lewis

Jesús López-Cobos

Fabio Luisi

Lorin Maazel

Sir Charles Mackerras

Jerzy Maksymiuk

Sir Neville Marriner

Jean Martinon

Kurt Masur

Bobby McFerrin

Nicholas McGegan

Zubin Mehta

Yehudi Menuhin

Dimitri Mitropoulos

Pierre Monteux

Ludovic Morlot

Charles Munch

Earl Bernard Murray

Riccardo Muti

Kent Nagano

Daniel Newman-Lessler

Jonathan Nott

Eugene Ormandy

Eiji Oue

Seiji Ozawa

Murray Perahia

Vasily Petrenko

Peter Phillips

Ryszard Pierzchala

Trevor Pinnock

Michel Plasson

Mikhail Pletnev

Valery Polyansky

Georges Prêtre

André Previn

Kostis Protopapas

Robert Quinney

Sir Simon Rattle

Lyle R. Ring

David Robertson

Mendi Rodan

Artur Rodziński

Walter Henry Rothwell

Gennady Rozhdestvensky

Victor de Sabata

Esa-Pekka Salonen

Carlos Salzedo

Gerhard Samuel

Sir Malcolm Sargent

Jordi Savall

Wolfgang Sawallisch

Thomas Schippers

Hans Schmidt-Isserstedt

Georg Schnéevoigt

Gerard Schwarz

Hans Schwieger

Joseph Silverstein

Calvin Simmons

Giuseppe Sinopoli

Stanislaw Skrowaczewski

Leonard Slatkin

Václav Smetáček

Sir Georg Solti

Ignat Solzhenitsyn

Thomas Søndergård

Vladimir Spivakov

William Steinberg

Leopold Stokowski

Igor Stravinsky

Walter Susskind

Leoš Svárovský

Yevgeny Svetlanov

Hans Swarowsky

George Szell

Yuri Temirkanov

Carolyn Teraoka-Brady

Michael Tilson Thomas

Richard Tognetti

Bramwell Tovey

Molly Turner

Antoni (Anthony) Van der Voort

André Vandernoot

Osmo Vänskä

Emmanuel Villaume

Hans Vonk

Edo de Waart

Julian Wachner

Roger Wagner

Alfred Wallenstein

Bruno Walter

Christopher Warren-Green

Roderick White

Antoni Wit

Bohdan Wodiczko

Long Yu

Christian Zacharias

Carlo Zecchi

Pinchas Zukerman


33

History

Timothy Accurso, piano

Isidor Achron, piano

Joaquín Achúcarro, piano

Harry Adaskin, violin

Thomas Adès, piano

Katrina Agate, cello

Esequiel Aguilar, laudín

Guillermo Aguilar, tenor

Pepe Aguilar, laudete

Elisa Aguilar, laud (lute)

Paco Aguilar, laudón

Pierre-Laurent Aimard, piano

Solon Alberti, piano

Elizabeth Alexander, piano

Dmitri Alexeev, piano

Madame Louise Alvar, voice

John Amadio, flute

Misha Amory, viola

Marian Anderson, contralto

Claudia Anderson, flute

and alto flute

Piotr Anderszewski, piano

Leif Ove Andsnes, piano

Jeno Antal, violin

Valentina (Yushny-)Arenzwari,

dance

Patricia Jennings Armstrong,

soprano

Claudio Arrau, piano

Litha Ashforth, soprano

Shmuel Ashkenasi, violin

Frederick Ashton, dance

Odair Assad, guitar

Sérgio Assad, guitar

Victor Asunción, piano

Herbert Ausman, trombones

Florence Austral, soprano

Avi Avital, mandolin

Emanuel Ax, piano

Joy Babcock, violin

Gina Bachauer, piano

Badev. Georgi, violin

Zlatko Baloković, violin

Artur Balsam, piano

Giuseppe Bamboschek, piano

Lyell Barbour, piano

Helen Manchee Barnett, piano

and soprano

Howard Barr, piano

George Barrère, flute

Manuel Barrueco, guitar

Cecilia Bartoli, mezzo-soprano

Sara Bashore, violin

Werner Bass, piano

Antonio Bassi, violin

Margaret Batjer, violin

Kathleen Battle, soprano

Wolf-Dieter Batzdorf, violin

Harold Bauer, piano

Jean-Efflam Bavouzet, piano

Emanuel Bay, piano

Isabel Bayrakdarian, soprano

Thelma Beach, violin

Mebane Beasley, bass

Rachel Beckett, recorder

Corina Belcea, violin

Joshua Bell, violin

Nicola Benedetti, violin

and director

André Benoist, piano

Boris Berezovsky, piano

André Bernard, trumpet

Leonard Bernstein, piano

Molly Bernstein, piano

Deborah Bertling, soprano

Adolfo Betti, violin

Pavlo Beznosiuk, violin piccolo

Edwin Biltcliffe, piano

Dorothy Bird, dance

Jonathan Biss, piano

David Blackadder, trumpet

Geraldine Blackburn, voice

Dixie Blackstone, violin

Milton Blackstone, viola

Steven Blier, piano

Howard Bliss, cello

Arthur Bliss, piano

Michele Bloch, clarinet

Roger Bobo, tuba

Nina Bodnar, violin

Jorge Bolet, piano

Elisso Bolkvadze, piano

Danny Bond, bassoon

Alexander Borisoff, cello

Nathalie Boshko, violin

Ian Bostridge, tenor

Shibley Boyes, piano

Lubomír Brabec, guitar

Alexander Brailowsky, piano

Jens Harald Bratlie, piano

David Breidenthal, bassoon

Alfred Brendel, piano

Carter Brey, cello

Arthur Briegleb, horns

Anthony Briglio, violin

Patricia Brinton, soprano

Leila Barlow Briscoe, soprano

Albert Broad, tenor

Dorothy Innis Bromfield, soprano

Yefim Bronfman, piano

Ilya Bronson, cello

Lawrence Brown, piano

John Browning, piano

Frank de Bruine, oboe


Soloists & Recitalists (1920–2022)

(Page 1 of 4)

Theo Bruins, piano

Anshel Brusilow, violin

Rudolf Buchbinder, piano

Fernando Bujones, dance

Leslie Cain, piano

Christine Cairns, mezzo-soprano

Alice Brandon Caldwell, piano

May Hogan Cambern, harp

Mary Cameron, piano

Serena Canin, violin

Renaud Capuçon, violin

Gautier Capuçon, cello

Grazia Carbone, contralto

Kathryn Carlson, cello

Sadie Carlston, violin

Giuliano Carmignola, violin

Zita Carno, organ

Molly Carr, viola

Herbert Carrick, piano

Margaret Huston Carrington,

soprano

Ardis Carter, contralto

Robert Casadesus, piano

Pablo Casals, cello

Gaspar Cassadó, cello

John Cerminaro, horn

Mario Chamlee, tenor

Roger Chase, viola

Chee-Yun, violin

Edith Chen, piano

Xiaoduo Chen, soprano

Ching-Yun Chen, piano

Silvia Chiesa, cello

Seong-Jin Cho, piano

Krzysztof Chorzelski, viola

Dorothea Chryst, soprano

Kyung-Wha Chung, violin

Myung-Wha Chung, cello

Myung-Whun Chung, piano

Sergio Ciomei, piano

McAllister Clarke, bass

Beth Clerbois, violin and viola

Caro Clerbois, viola

Dyna Clerbois, mezzo-soprano

Georges (Roger) Clerbois, piano

Léon Clerbois, voice

Van Cliburn, piano

Eben Coe, baritone

F. A. Cohen, piano

Oscar Colcaire, tenor

Community Arts Madrigal Octet

John Contiguglia, piano

Richard Contiguglia, piano

Anita Cook, piano

Blake Cooper, tuba

Ronald Copes, violin

Christopher Costanza, cello

Robert Cowart, english horn

Henry Cowell, piano

Richard Crooks, tenor

Paul Crossley, piano

Ruth Cunningham, voice

Gretl Curth, percussion

K. Dadev, doire

Owen Dalby, violin

Dobrinin Damansky, dance

E. Harold Dana, baritone

David Daniels, countertenor

Iwan d'Archambeau, cello

Hyman Davidson, viola

Julie Davies, soprano

Arax Davtian, soprano

Shirley Day, soprano

William Dazeley, baritone

Henri De Busscher, oboe

Rohan De Silva, piano

Kati Debretzeni, violin

James Decker, horns

Henri Deering, piano

Robert deMaine, cello

Steven DeMuth, baritone

I. K. Denissoff, tenor

Carrie Dennis, viola

Michelle DeYoung,

mezzo-soprano

Andrea Di Maggio, flute

Neil Di Maggio, piano

Misha Dichter, piano

Glenn Dicterow, violin

Andrea DiMaggio, flute

and piccolo

Robert DiVall, trumpet

Jaroff Dobrinin, dance

Lester Donohue, piano

Albert van Doorn, cello

Celius Dougherty, piano

George Drexler, flute

Estelle Heartt Dreyfus, contralto

Constance Dreyfus, flute

Stanley Drucker, clarinet

Wenwen Du, piano

Suzanne Duffy, flute and piccolo

Katherine Duke, soprano

Ethylemae Dunton, soprano

Samuel Dushkin, violin

L. Dzbak, dance

G. Dzhuraeva, dance

Ku Ebbinge, oboe

Jared Eben, piano

José Echaniz, piano

Nelson Eddy, baritone

Richard Egarr, harpsichord

James Ehnes, violin

Susanne Ehrhardt,

soprano blockflute


35

History

Robert Ehrlich, recorder

Henry Eichheim, violin

Ethel Roe Eichheim, piano

Henny Ekstrom, contralto

Philippe Entremont, piano

M. Ergasteva, dance

Robert Clipper Erickson, piano

Eroica Trio

Philip Evans, piano

Wilbur Evans, baritone

Charles Warwick Evans, cello

Jon Faddis, trumpet

Naghmeh Farahmand,

percussion

Trey Farrell, oboe

Roberta Endicott Faxon, soprano

G. Fazyldzhanova, dance

Jill Felber, flute and alto flute

Lydia Ferguson, mezzo-soprano

Émile Férir, viola

François Fernández, violin

Walter Ferner, cello

Christian Ferras, violin

Mark Fewer, violin

Philip Ficsor, violin

Montserrat Figueras, soprano,

voice, and cithara

Nathan Firestone, viola

Rudolf Firkusny, piano

Kirsten Flagstad, soprano

Renée Fleming, soprano

Ingrid Fliter, piano

Charles Foidart, viola

Michel Fokine, choreography,

scenes, and dance

Manuel Forcano, narrator

Louis Ford, violin

Amanda Forsyth, cello

Chris Fossek, guitar

Samson François, piano

Pamela Frank, violin

Justus Frantz, piano

Volerie Salathe Freeman, soprano

Nelson Freire, piano

Adolphe Frezin, cello

Povla Frijsh, soprano

David Frisina, violin

Christian Funke, violin

Rosemary Furniss, violin

Ossip Gabrilowitsch, piano

Anthony Garcia, percussion

Chester Garden, piano

Will Garroway, piano

Jacques Gasselin, violin

Bert Gassman, oboe

Lisa Gasteen, soprano

Édouard Gendron, piano

Marsha Genensky, voice

Alban Gerhardt, cello

Kirill Gerstein, piano

Brenna Giacchino, string bass

Dusolina Giannini, soprano

Donna Gibbs, soprano

Terra Giddens, mezzo-soprano

Walter Gieseking, piano

J. J. Gilbert, flute

Anne Diener Giles, flute

Albert Gillette, baritone

Désiré Gilson, flute

Bronislaw Gimpel, violin

Matthias Goerne, baritone

Miwa Gofuku, piano

Mona Golabek, piano

Raphael Gomez, dance

Richard Goode, piano

Julia Gooding, soprano

Mrs. Clay Goodloe, soprano

Alan Goodman, bassoon

Emilio de Gogorza, baritone

Gary Graffman, piano

Martha Graham, dance

Susan Graham, mezzo-soprano

Donald Green, trumpets

Cynthia Gregory, dance

Harold Gregson, piano

Myrtle Gregson, mezzo-soprano

Ursula Greville, soprano

Oscar Griffiths, baritone

Hélène Grimaud, piano

Benjamin Grosvenor, piano

John Guarnieri, tenor

Janet Guggenheim, piano

Qiele (Cello) Guo, cello

Michael Gurevich, violin

Gulia Gurevich, violin

Mark Gutierrez, piano

Laura Hackstein, violin

Augustin Hadelich, violin

Noelle Hadsall, piano

Hilary Hahn, violin

Matt Haimovitz, cello

Laurent Halleux, violin

Ella Rose Halloran, piano

Boris Hambourg, cello

Zachary Hamilton, viola

Pierre Hamon, ney, gaita,

and flutes

Håkan Hardenberger, trumpet

Raymond Harmon, tenor

Lynn Harrell, cello

Lucas Harris, lute, theorbo,

and guitar

Sidney Harth, violin

William Hartshorn, narrator



(Page 2 of 4)

Hanns Hastings,

musical accompaniment

Erick Hawkins, dance

Haydn Trio

Roland Hayes, tenor

Sam Haywood, piano

Hein Heckroth, costumes

Desmond Heeley, costumes

Jascha Heifetz, violin

Benar Heifetz, cello

Eero Heinonen, piano

Walter Helfer, composer

and piano

Susan Hellauer, voice

Frans Helmerson, cello

Nino Herschel, piano

Manfred Herzog, cello

Dame Myra Hess, piano

Adriane Hill, bass flute

Raymond C. Hill, bass

Takashi Hironaka, piano

Jan Hlinka, viola

Lester Hodges, piano

Owen W. Hoffman, english horn

Ludwig Hoffmann, piano

Josef Hofmann, piano

Hartmut Höll, piano

Carroll Hollister, piano

Jacques Holtman, violin

Boyde Hood, trumpets

Florence Hooper, violin

Paul Horn, flute

Marilyn Horne, soprano

Jacqueline Horner-Kwiatek, voice

Vladimir Horowitz, piano

Louis Horst, piano

Russell Horton, tenor

Hans Horwitz, piano

Ho-Te-Ma-We, mezzo-soprano

Sir Stephen Hough, piano

Laura Lou Houghton, recitation

Peter Howard, cello

Judith Howarth, soprano

Annis Stockton Howell, voice

Hradil Antonin, concertmaster

Bronislaw Huberman, violin

Mrs. Lafayette M. Hughes,

mezzo-soprano

J. F. Hurlbut, tenor

Brian Hwang, violin

Alex Iles, trombone

Ish-Te-Opi, baritone

Eugene Istomin, piano

José Iturbi, piano

Mario Ivelja, string bass

Maria Ivogün, soprano

Paul Jacobs, piano

Sascha Jacobsen, violin

Tasso Janopoulo, piano

Gundula Janowitz, soprano

J. Jaroff, dance

Resnik Javorsky, dance

Marc Johnson, cello

Irma Leigh Johnstone, violin

Joela Jones, piano

Gwyn Hughes Jones, tenor

Warren Jones, piano

Leila Josefowicz, violin

Youjin Jung, violin

Jeffrey Kahane, harpsichord

and piano

Joseph Kalichstein, piano

Gilbert Kalish, piano

Chun-Wei Kang, piano

Sheku Kanneh-Mason, cello

Harry Kaplun, cello

Grace Kaplun, piano

T. F. Kasakoff, tenor

Alfred Kastner, harp

Martin Katz, piano

Leonidas Kavakos, violin

Lüwa Ke, soprano

N. N. Kedroff, baritone

C. N. Kedroff, bass

Hannes Keller, piano

Wilhelm Kempff, piano

Nigel Kennedy, violin

Olga Kern, piano

Muriel Kerr, piano

Sergey Khachatryan, violin

Felix Khuner, violin

Hans Kindler, cello

Albert King, piano

Natasha Kislenko, piano

Otto Klemperer, piano

Jennifer Kloetzel, cello

Marjorie Knapp, violin

Edith Knox, piano

Paul Kochanski, violin

Zoltán Kocsis, piano

Varoujan Kodjian, violin

Robert Koenig, piano

Neltha Koke, mezzo-soprano

Rudolf Kolisch, violin

Madison Kolkow, flute

Konrad Kono, piano

Nina Koshetz, soprano

P. Kosmowskaja, dance

Manfredo Kraemer, violin

Boris Krajný, piano

Gidon Kremer, violin

Géza de Kresz, violin

Joel Krosnick, cello

Jenna Ku, flute


37

History

Jan Kubelik, violin

Ernest Kubitschek, bassoon

Susan Kuehn, mezzo-soprano

Elisabeth Kufferath, violin

L. Kosmowskaja, dance

Katia Labèque, piano

Marielle Labèque, piano

Lang Lang, piano

Jaime Laredo, violin

Alicia de Larrocha, piano

Hulda Lashanska, soprano

Ivan Law, cello

Mark Lawrence, trombone

William Lawrence, piano

Erik Lawrence, piano

Michaela Laza, soprano

Antoine Lederlin, cello

Christine Lee, piano

Karis Lee, viola

Nina Lee, cello

Lotte Lehmann, soprano

Eugene Lehner, viola

Dobrinin Lelik, dance

Lelik and Orlik, dance

Ronald Leonard, cello

Vincent Lertchareonyong, piano

Lorin Levee, clarinet

James Levey, violin

Igor Levit, piano

Richard Levitt, tenor

Mischa Levitzki, piano

Jon Lewis, trumpet

George Li, piano

Buyun Li, piano

Jia Li, pipa

Theo Lieven, piano

Ellie Lim, violin

Cho-Liang Lin, violin

Joseph Lin, violin

Valentina Lisitsa, piano

Judy Loman, harp

Sinclair Lott, horn

Felicity Lott, soprano

Clifford Lott, bass

Jack Lowe, piano

Jerome Lowenthal, piano

Pierre Luboschutz, piano

Madame Lea Luboshutz, violin

Cassandra Luckhardt,

viola da gamba

Nikolai Lugansky, piano

Joseph Lulloff, saxophone

Radu Lupu, piano

Andrew Lvoff, violin

Robert Maas, cello

Madame Sugi Machin, soprano

Alison Mackay, string bass

Archibald MacLeish, libretto

Marie Hughes MacQuarrie, harp

Teiko Maehashi, violin

Nikita de Magaloff, piano

Mischa Maisky, cello

Lily Maisky, piano

Valerie Malvinni, violin

Sofia Malvinni, violin

David Malvinni, guitar

Franco Mannino, piano

Carol Ann Manzi, soprano

Maraca2, percussion

Silvia Marcovici, violin

Mark Markham, piano

Elinor Marlo, mezzo-soprano

Helena Marsh, contralto

Catherine Marshall, bass flute

Malcolm Martineau, piano

Giovanni Martinelli, tenor

Anthony Marwood, violin

Inoue Masaoki, violin

Sophie Maslow, dance

John Mason, horn

Louise E. Massey, soprano

Denis Matsuev, piano

Margaret Matzenauer,

mezzo-soprano

Charles Maxtone-Smith, organ

Mrs. William Maxwell, piano

Edwin McArthur, piano

Paul McCoole, piano

Monique McDonald, soprano

Robert McDuffie, violin

Bobby McFerrin, voice

Rob Roy McGregor, trumpet

Frank McGuire, bodhrán

Dustin McKinney, trumpet

Sylvia McNair, soprano

Heinz Medjimorec, piano

Kathryn Meisle, contralto

Meng Meng, soprano

Yehudi Menuhin, violin

Jeremy Menuhin, piano

Nan Merriman, mezzo-soprano

Darius Milhaud, piano

Nathan Milstein, violin

Shlomo Mintz, violin

Leopold Mittmann, piano

Alexander Mogilevsky, piano

Pierre Moirandat, recitation

Nicolas Moldavan, viola

Ferenc Molnar, viola

Gui (Guillaume) Mombaerts, piano

Gerald Martin Moore, piano

Ivan Moravec, piano

Alfonso Moreno, guitar

Erika Morini, violin



(Page 3 of 4)

Molly Morkoski, piano

Isabel Keith Morrison, piano

Leila Livingston Morse,

mezzo-soprano

Gertrude Motto, soprano

May Mukle, cello

Simon Mulligan, piano

Kenneth Munday, bassoon

Anne-Sophie Mutter, violin

Sergei Nakariakov, trumpet

Laura Nalbandgian, dance

Vagen Nalbandgian, dance

Alon Nashman, narrator

Raphael Negrete, dance

Marc Neikrug, piano

Amy Neill, violin

Nils Nelson, piano

Zara Nelsova, cello

Erika Nickrenz, piano

Sylvain Noack, violin

Jessye Norman, soprano

Geoff Nuttall, violin

Andrew von Oeyen, piano

Garrick Ohlsson, piano

Heiichiro Ohyama, viola

Athelda Oliver, soprano

Alphonse Onnou, violin

Ursula Oppens, piano

Christopher O'Riley, piano

Lambert Orkis, piano

Chenoa Orme-Stone, cello

Lillian Ortiz, dance

Anne Sofie von Otter,

(mezzo-)soprano

Vladimir Ovchinikov, piano

Fanny Paccoud, viola

Piotr Paleczny, piano

Mrs. Imogen Avis Palmer, piano

G. Randolph Palmer, tenor

Eugeniusz Papliński, dance

Kevin Park, piano

Jon Kimura Parker, piano

Jamie Parker, piano

Étienne Pasquier, cello

Jean Pasquier, violin

Pierre Pasquier, viola

Irene Maddocks Pattison,

soprano

Mrs. W. G. Paul, contralto

Valentin Pavlowsky, piano

Theodore Paxson, piano

Antony Pay, basset clarinet

Pedro Paz, viola

Elida Pederson, piano

Byron Peebles, trombones

Jan Peerce, tenor

Adela Peña, violin

J.J. Penna, piano

Leonard Pennario, piano

John Pennington, violin

Murray Perahia, piano

Joseph Pereira, timpani

Itzhak Perlman, violin

Louis Persinger, violin

Petra Peršolja, piano

Christy Lee Peterson, soprano

Marius Petipa, choreography

Thomas Petre, violin

Demetri Petsalakis, oud

Frieda Peycke,

composer-interpreter

Matthias Pfaender, cello

William Pfeiffer, flute

Catherine Phelps, violin

Gregor Piatigorsky, cello

Philippe Pierlot, 7-string bass viol

William Pilcher, tenor

Trevor Pinnock, harpsichord

Alfred Pochon, violin

Leon Pommers, piano

Rosa Ponselle, soprano

Helen Portune, soprano

Ruth Posselt, violin

Germain Prévost, viola

Vassily Primakov, piano

William Primrose, viola

Eileen Pritchard, piano

Stephen Prutsman, piano

Dimitri Psonis, oud, santur,

and morisca

Sergei Rachmaninoff, composer

and piano

Albert Rahier, violin

Samuel Ramey, bass

George Perkins Raymond, tenor

Teag Reaves, horn

William Rees, bass

Kurt Reher, cello

Davis Reinhart, piano

Sheila Reinhold, violin

Merrill Remington, oboe

Ken Remo, tenor

Elisabeth Rethberg, soprano

Jeffrey Reynolds, trombones

Samuel Rhodes, viola

Ruggiero Ricci, violin

Rodolfo Richter, violin

Lesley Robertson, viola

Paul Robeson, bass-baritone

Mrs. Hennion Robinson, piano

Sharon Robinson, cello

Elizabeth Rockwell, soprano

Pepe Romero, guitar

Myor Rosen, harp


39

History

Stuart Ross, piano

Mstislav Rostropovich, cello

Feri Roth, violin

Daniel Rothmuller, cello

Terry Row, oboe

Connor Rowe, trombone

Edythe Reily Rowe, cello

Alexander Rozhdestvensky, violin

Artur Rubinstein, piano

Belle Rubio, dance

Zlatko Rucner, cello

U. Saidova, dance

Philip Sainton, viola

Nadja Salerno-Sonnenberg, violin

Lise de la Salle, piano

Esa-Pekka Salonen, Director

Carlos Salzedo, harp and piano

Laura Samuel, violin

Sara Sant'Ambrogio, cello

Jordi Savall, viola da gamba,

6-string treble viol, 7-string bass

viol, lira da gamba, and rebab

Lidewij Scheifes, cello

Sir András Schiff, piano

William Schimmel, accordion

Tito Schipa, tenor

Alexander Schmalcz, piano

Rudolph Schmitt, clarinet

Artur Schnabel, piano

Michael Schnitzler, violin

Alice Schoenfeld, violin

Eleonore Schoenfeld, cello

Andreas Scholl, countertenor

Sanford Schonbach, viola

Walter Schulz, cello

Carl Schulze, trumpet

Madame Ernestine

Schumann-Heink, soloist

Katherine Schurmeier, piano

and organ

Joseph Schuster, cello

Astrid Schween, cello

Rudolf Serkin, piano

Peter Serkin, piano

Nestor Serrano, narrator

Asher Severini, piano

Gil Shaham, violin

Shirley Shang, violin

Alexander Shanin, violin

Irene Sharaff, costumes

Nellie Mae Shaw, soprano

Annie Strubbe Shearer, soprano

George Shkultetsky, baritone

Jeffrey Siegel, piano

John Sievers, clarinet

Joseph Silverstein, violin

Dmitry Sitkovetsky, violin

Joel Smirnoff, violin

Gary Smith, tenor

Imogen Seth Smith,

viola da gamba

Joy Pottle Smith, piano

Oliver Smith, scenery

Winifred Smith, contralto

Shaun Smyth, narrator, voice

Elisabeth Söderström, soprano

Anna Sokolow, dance

Emily Sommerman, violin

John Sondquist, piano

Musicians from John Philip

Sousa's Marching Band

Albert Spalding, violin

Mark Sparks, flute

Vladimir Spivakov, violin

Frederica von Stade,

mezzo-soprano

Simon Standage, violin

Jan Stanienda, violin

Tereza Stanislav, violin

Olga Steeb, piano

Mark Steinberg, violin

John Steinmetz, bassoon

Isaac Stern, violin

Eduard Steuermann, piano

Thomas Stevens, trumpet

Reginald Stewart, piano

Morris Stoloff, violin

Lawrence Strauss, tenor

Igor Stravinsky, piano

Marta Sudraba, cello

Xin Sun, guzheng

Bertha Svedrofsky, violin

Gladys Swarthout,

mezzo-soprano

Margaret Sykes, soprano

Henryk Szeryng, violin

Joseph Szigeti, violin

Mathias Tacke, violin

Zauri Takhadze, soloist

Alexander Tansman, piano

Roger Tapping, viola

Dame Kiri Te Kanawa, soprano

Richard Tetley-Kardos, piano

Christian Tetzlaff, violin

Tanja Tetzlaff, cello

Jacques Thibaud, violin

Jean-Yves Thibaudet, piano

Chris Thile, mandolin

John Charles Thomas, baritone

Sarah Thornblade, violin

Lawrence Tibbett, baritone

Michael Tilson Thomas, piano

Jürnjakob Timm, cello

Lubov Timofeeva, piano

Jennifer Tipton, lighting



(Page 4 of 4)

Richard Tognetti, violin

Maryem Tollar, voice and qanun

Alexander Toradze, piano

Donald Francis Tovey, piano

Sylvie Tran, flute

Michael Tree, violin

Alexander Treger, violin

Viktor Tretyakov, violin

Daniil Trifonov, piano

Herman Trutner, horn

Kristina Tsanova, violin

Mari Tsumura, violin

Antony Tudor, choreography

Antony Tudor, ballet

Mitsuko Uchida, piano

Paul Ulanowsky, piano

Ula Ulijona, viola

Val Underwood, piano

Dawn Upshaw, soprano

Masuko Ushioda, violin

William Vallandigham, baritone

Brahm Van den Berg, piano

William Van den Burg, cello

Antoni (Anthony) Van der Voort,

violin and piano

Claudia (Kiser) Vanderschraaf,

cello

George Vause, piano

Kosti Vehanen, piano

Louis Velasquez, dance

Maxim Vengerov, violin

Josefina Vergara, violin

Marco Vitale, harpsichord

Allan Vogel, oboe

Jan Vogler, cello

Lars Vogt, piano

Deborah Voigt, soprano

Cynthia Vong, alto flute

Timothy Wakerell, organ

F. Waldmann, piano

Christine Walevska, cello

Lillian Wang, alto flute

Yuja Wang, piano

Nan Wang, erhu

Azeem Ward, flute

Muriel Ward, recitation

Harry Waldo Warner, viola

Christopher Warren-Green, violin

Viola Wasterlain, violin

André Watts, piano

Wu Wei, sheng

Alisa Weilerstein, cello

Hanna Weinmeister, viola

Sidney Weiss, violin

David Weiss, oboe

Jeanne Weiss, piano

Orion Weiss, piano

Richard Weiss, piano

Reinald Werrenrath, baritone

Joseph Wetzels, cello

Roderick White, violin

Arthur Whittemore, piano

Leslie Whytal (Janney), cello

Mary Wigman, dance

Axel Wilczok, violin

John Williams, guitar

Blair Williams, narrator

Stephen Williamson, clarinet

Seidler Winkler, piano

Barbara Winters, oboe

Henry Woempner, flute

Norman S. Wright, piano

Isabelle Yalkovsky (Byman), piano

Joyce Yang, piano

Audrey Yoder, soprano

Richard Young, viola

Alana Youssefian, violin

Pinshu Yu, piano

Yascha Yushny, dance

Besnik Yzeiri, viola

Christian Zacharias, piano

Alexander Zakin, piano

Maurice Zam, piano

Charles Zebley, flute

Qi Zhou, violin

Natalie Zhu, piano

Areta Zhulla, violin

Efrem Zimbalist, violin

Krystian Zimerman, piano

Nikolaj Znaider, violin

Pinchas Zukerman, violin


41

CAMA’S FUTURE:

CAMA’s mission is to enrich Santa Barbara’s cultural life by bringing live performances by worldrenowned

classical artists and orchestras of the highest artistic excellence to our community

and by providing creative, focused music education programs for individuals of all ages.

CAMA thanks and honors the following members of the CAMA community who have

contributed to CAMA’s Endowment. A commitment to CAMA’s Endowment ensures the

success of CAMA’s next 100 years. Gifts at every level are deeply appreciated.

James H. Hurley, Jr. and Judith L. Hopkinson

Co-Chairs, CAMA Endowment

CONDUCTOR'S CIRCLE

$500,000 and above

Suzanne & Russell Bock

Linda Brown*

SAGE Publishing

Elaine Stepanek

Esperia Foundation

CRECENDO CIRCLE

$250,000–$499,999



The Andrew H.

Burnett Foundation


Judith L. Hopkinson

Herbert & Elaine Kendall

Mary Lloyd & Kendall Mills

CADENZA PATRONS

$100,000–$249,999

Mary & Raymond Freeman

The Stephen & Carla

Hahn Foundation

Shirley Ann & James H. Hurley, Jr.

Nancy & William G. Myers

Jan Severson

Judith F. Smith

The Towbes Fund for

the Performing Arts


RONDO PATRONS

$50,000–$99,999

Ruth Appleby

Deborah & Peter Bertling

Linda & Peter Beuret

Dr. Dolores M. Hsu

Lois Sandra Kroc

The Samuel B. & Margaret C.

Mosher Foundation

Santa Barbara Bank & Trust


CONCERTO PATRONS

$25,000–$49,999

Jane Catlett

Bridget B. Colleary

Suzanne Faulkner

Léni Fé Bland


Joanne C. Holderman

Hutton Parker Foundation

Sara Miller McCune

Mr. & Mrs. Frank R. Miller, Jr./

The Henry E. & Lola Monroe

Foundation

Efrem Ostrow Living Trust

Craig & Ellen Parton

Diana & Roger Phillips

Linda Stafford Burrows

The Walter J. & Holly O. Thomson

Foundation

Barbara & Sam Toumayan

SONATA PATRONS

$10,000–$24,999

Anonymous

Rebecca & Peter Adams

Denise & Stephen Adams/

Adams Family Foundation

Marta Babson

Else Schilling Bard

Edward & Sue Birch

Frank Blue & Lida Light Blue

Bob Boghosian &

Beth Gates-Warren


The CAMA Women's Board

Virginia Castagnola-Hunter

Margo Chapman

NancyBell Coe & William Burke

Karen Davidson, M.D.

Nancyann & Robert Failing


& Ronald Fendon


Arthur R. Gaudi

Sherry & Robert Gilson

Lorraine C. Hansen

Mary & Campbell Holmes

Patricia Kaplan

Winona Fund

Mahri Kerley/Chaucer's Books

Lynn P. Kirst

Laura Kuhn

John Lundegard

Keith Moore

Jayne Menkemeller

Betty Meyer

Mary & James Morouse

Myra & Spencer Nadler

Pat Hitchcock O'Connell

John Perry

Marjorie & Hugh Petersen

John & Ellen Pillsbury

Susannah Rake

Michele & Andre Saltoun

Anitra & Jack Sheen

Sally & Jan E.G. Smit

Constance Smith

The Elaine F. Stepanek

Foundation

Betty J. Stephens

Mark E. Trueblood

Marilyn Vandever

Barbara & Gary Waer

David & Lisa Wolf

*promised

Gifts received by September 13, 2022

MOZART SOCIETY

Rebecca & Peter Adams





Frank Blue & Lida Light Blue

Linda Brown


Virginia Castagnola-Hunter

Jane Catlett

Bridget B. Colleary

Karen Davidson, M.D.



& Ronald Fendon



Arthur R. Gaudi

Lorraine C. Hansen


Joanne C. Holderman

Judith L. Hopkinson

Dr. Dolores M. Hsu


Herbert & Elaine Kendall


Lynn P. Kirst

Lois Sandra Kroc

John Lundegard

Keith Moore


Myra & Spencer Nadler




Andre & Michele Saltoun

Judith F. Smith


Mark E. Trueblood

Marilyn Vandever




We gratefully acknowledge all CAMA Mozart Society and Legacy

Society members for their gifts to CAMA’s endowment, ensuring

CAMA’s mission to bring the world’s greatest classical artists to

Santa Barbara for years to come.

This season's annual Mozart Award Dinner honors

Mary & Ray Freeman and will be held January 28, 2023.

Thank you

CAMA TODAY:

INTERNATIONAL CIRCLE Annual gifts $1,500 and above

Anonymous (4)

Ann Jackson Family Foundation

Sylvia Abualy

Todd & Allyson Aldrich Family

Charitable Fund

Jane & Kenneth Anderson

Peggy & Kurt Anderson

Argonaut Charitable Foundation

Marta Babson



Isabel Bayrakdarian



Jerry & Geraldine Bidwell

Edward & Sue Birch

Bob Boghosian &

Beth Gates-Warren

Shelley & Mark Bookspan

Diane Boss

Alison & Jan Bowlus

Cynthia Brown & Arthur Ludwig

Wendel Bruss

Michele Brustin

Suzanne & Peyton Bucy

Barbara Burger and Paul Munch

Alison H. Burnett

Dan & Meg Burnham


Louise & Michael Caccese

Annette & Richard Caleel

The CAMA Women's Board

Susan & Claude Case

Roger & Sarah Chrisman,

Schlinger Chrisman Foundation

Patricia Clark

Lavelda & Lynn Clock

Stephen Cloud

Betsy & Kenneth Coates

Bridget B. Colleary

Joan & Steven Crossland

Gregory Dahlen III &

Christi Walden

Ms. Jan Davis-Hadley

Janet Davis

Janet & Roger DeBard/

DeBard Johnson Foundation

Sheryl & Michael DeGenring

Edward S. DeLoreto

Margaret & Ronald Dolkart

Nancy Donaldson

Elizabeth & Kenneth Doran

Glenn & Karen Doshay

Ann & David Dwelley

Wendy & Rudy Eisler

Julia Emerson

Lauren Emma


Frederika & Dennis Emory

Nancy Englander

Bob & Margo Feinberg

Jill Felber & Paul A. Bambach


& Ronald Fendon


Priscilla Gaines

Catherine H. Gainey

Tish Gainey & Charles Roehm

Dorothy & John Gardner

Arthur R. Gaudi

Sandy & Jerry Gothe

George H. Griffiths and Olive J.

Griffiths Charitable Fund

The Stephen & Carla

Hahn Foundation

David Hamilton

William S. Hanrahan


Renee & Richard Hawley

Maison K

Henry E. Lola Monroe Foundation

Barbara Hirsch

Ronda & Bill Hobbs

Gerhart Hoffmeister

Joanne C. Holderman

Hollis Norris Fund

Judith L. Hopkinson

Natalia & Michael Howe


Jackie Inskeep

Karin Jacobson

Gina & Joseph Jannotta

Diane Johnson

Ellen & Peter Johnson

Elizabeth Karlsberg & Jeff Young

William H. Kearns Foundation

Mr. James P. Kearns

Herbert Kendall

Connie & Richard Kennelly

Jill Dore Kent



Sally Kinney

Lynn P. Kirst

Thomas & Travis Kranz

Lois S. Kroc

Chris Lancashire

Stefanie L. Lancaster Charitable

Foundation

MaryAnn Lange

Elinor & James Langer

Kathryn Lawhun & Mark Shinbrot

Shirley & Seymour Lehrer

Dodie Little

Christie & Morgan Lloyd

Nancy Lynn

Maureen Masson

Phyllis Brady & Andy Masters

Ruth & John Matuszeski


ANNUAL GIFTS

Thank you International Circle Members!

CAMA sincerely appreciates your support for our mission

to bring great orchestras and soloists to Santa Barbara

and to introduce young people to classical music.

–Chris Emmons, International Circle Chair

Donald & Karine McCall

Dona & George McCauley

Sara Miller McCune

Jeffrey McFarland

Frank McGinity | Debbie Geremia

Patriicia & William McKinnon

Jocelyne & William Meeker

Sally & George Messerlian

Robert Miller & Susie Triolo Miller

Montecito Bank & Trust


Stephen J.M. & Anne Morris

Peter L. Morris

Mosher Foundation

Maryanne Mott

Russell Mueller

Mrs. Raymond King Myerson

Karin Nelson & Eugene Hibbs/

Maren Henle

Fran & John Nielsen

Northern Trust

Ellen Lehrer Orlando &

Thomas Orlando

Gail Osherenko & Oran Young

Patti Ottoboni

Anne & Daniel Ovadia


Carol & Kenneth Pasternack

Samuel F. Pellicori

Performing Arts

Scholarship Foundation

Patricia Perry


Ann M. Picker


Minie & Hjalmar

Pompe van Meerdervoort

Carol & Edward Portnoy


The Roberts Brothers Foundation

Jacy Romero

Monica Romero

Regina & Rick Roney

Merlin Rossow

SAGE Publishing

Michele Saltoun

Ada B. Sandburg

William E. Sanson

Santa Barbara Foundation

City of Santa Barbara

Lynn & Mark Schiffmacher

Nancy Schlosser

Shanbrom Family Foundation

Maureen & Les Shapiro

Anitra Sheen

Halina W. Silverman

Eric Small

Delia Smith

Judith F. Smith

Barbara & Wayne Smith


The Elaine F.

Stepanek Foundation

Marion Stewart

The Stone Family Foundation

Diane Sullivan

Elaine & Robert Sweet

Mr. Clay Tedeschi

Pamala Temple

Suzanne Holland &

Raymond Thomas

The Walter J. & Holly O.

Thomson Foundation

Milan E. Timm


Anne Smith Towbes

TheTowbes Fund for the

Performing Arts, a field of

interest fund of the

Bicky Townsend

Mark E. Trueblood

Steven Trueblood

Dr. Shirley Tucker

Carol Vernon & Robert Turbin

Esther & Tom Wachtell


Sheila Wald

Nick & Patty Weber

Robert Weinman

Judy L Weisman

Westmont College

Victoria & Norman Williamson


George & Beth Wood


Grace & Edward Yoon

Patricia Yzurdiaga

Zegar Family Fund

Cheryl & Peter Ziegler

Ann & Dick Zylstra

Winona Fund



45

CAMA TODAY: ANNUAL GIFTS

MUSICIANS SOCIETY

Annual gifts up to $1,000

CAMA thanks our Musicians Society for their annual support.

CONTRIBUTORS

Glenn Jordan & Michael Stubbs

Maggy Cara

Michael & Ruth Ann Collins

Nancy & Frederic Golden

Debbie & Frank Kendrick

Phyllis Brady & Andy Masters

Sun Ae & Andrew Mester

Maureen O'Rourke

Gaines Post

Doris & Bob Schaffer

ASSOCIATES

Julie Antelman & William Ure

Alison H. Burnett

Margaret & David Carlberg

Joanne & John Chere

Meg & Jim Easton

Thomas & Doris Everhart

Marie-Paule & Laszlo Hajdu

Ronda & Bill Hobbs

Anna & Petar Kokotovic

Amanda McIntyre

Christine & James V. McNamara

Ted and Kay Stern

Laura Tomooka

Mary H. Walsh

FRIENDS

Irwin and Roslyn Bendet

Polly Clement

Thomas Craveiro

Susan & Larry Gerstein

Susan Harbold

Christine Hoehner

Ms. Pita Khorsandi

Lori Kraft Meschler

Jean Perloff

Joan Tapper & Steven Siegel

Mr. Charles Harvey Talmadge

Ms. Renee Templeraud

Mr. Charles Weis

Fritz and Hertha Will


MEMORIAL GIFTS

IN MEMORY OF

Michelle "CoCo" Ogburn

Margaret & Ronald Dolkart

Prof. Frederick F. Lange

MaryAnn Lange

Lynn Robert Matteson, PhD

Lynn P. Kirst

Mrs. Raymond King Myerson

William Hanrahan


MUSIC EDUCATION

$25,000 and above

Elaine F. Stepanek Foundation

The Walter J. & Holly O. Thomson Foundation

$10,000–$24,999

Ms. Irene Stone/ Stone Family Foundation


Mr. & Mrs. Frank R. Miller, Jr. /

The Henry E. & Lola Monroe Foundation

$1,000–$9,999

CAMA Women's Board


Stefanie L. Lancaster Charitable Foundation

Sara Miller McCune

James P. and Shirley F. McFarland Fund

of the Minneapolis Foundation

Performing Arts Scholarship Foundation

Westmont College

$100–$999

Becky & William Banning

William S. Hanrahan

Lynn P. Kirst

CAMA Education Endowment

Fund Income

$50,000 AND ABOVE

Mary Lloyd Mills

$1,000–$4,999


$1,000–$4,999

Linda Stafford Burrows –

This opportunity to experience great musicians excelling is

given in honor and loving memory of Frederika Voogd

Burrows to continue her lifelong passion for enlightening

young people through music and math.

Kathryn H. Phillips, in memory of Don R. Phillips

Walter J. Thomson/The Thomson Trust

$50–$999

Lynn P. Kirst

Keith J. Moore

Performing Arts Scholarship Foundation

Marjorie S. Petersen


Volunteer docents are trained by CAMA's Education

Committee Chair Joan Crossland to deliver this

program to area schools monthly. Music enthusiasts

are invited to learn more about the program and

volunteer opportunities.

Call the CAMA office at (805) 966-4324 for

more information about the docent program.

With special thanks to

Sullivan Goss


47

BUSINESS SUPPORTERS

We thank the many businesses that support

CAMA's programs and events!

Alicia Bair Florals

Laurel Abbott, Berkshire

Hathaway Luxury Properties

Alma Rosa Winery

Babcock Winery

James P. Ballantine

David Bazemore

Bertling Law Group

Bibi Ji

Blue Star Parking

bouchon

Kay Bowman Catering

Brander Vineyard

Wes Bredall

Ca' Dario Ristorante

Camerata Pacifica

Catering Connection

Cebada Wine

The Cheese Shop

Chaucer's Books

Chocolats du CaliBressan

Custom Printing

eji experiences

Eye Glass Factory

Felici Events

Flag Factory of


Frequency Wine

Gainey Vineyard

The Good Lion Hospitality

Grassini Family Vineyards

Grimm’s Bluff

Hogue & Company

Holdren's Catering

Inside Wine Santa Barbara

Kristin Jackson

Graphic Design

Jano Printing & Mailworks

Kaleidoscope Flowers

Kay Bowman Catering

Kunin Wines

Le Sorelle

Little Things Bakery

Lobero Events

Lumen Wines

M4 Interactive

Maravilla/Senior

Resource Group

Mercury Press International

Montecito Bank & Trust

Montgomery Vineyard

Northern Trust

Olio e Limone/Olio Crudo

Bar/Olio Pizzeria

Opal Restaurant & Bar

Opera Santa Barbara

Pacific Coast

Business Times

Pali Wine Co.

Performing Arts

Scholarship Foundation

Presqu’ile Winery

SAGE Publishing

Santa Barbara Foundation


Travel Bureau

Savoir Faire

Sullivan Goss

The Tent Merchant

Town and Country Rentals

The Upham Hotel

Via Maestra 42

Waiākea Water

Westmont Orchestra

wine country cuisine

in the heart of the Historic Arts District

Santa Barbara ‘Wine Country Cuisine’ means

we source our ingredients using an ‘as-fresh-andas-local-as-possible’

approach, with fish from

the Santa Barbara Channel and produce from

the surrounding countryside. We then take into

account how these flavors can be presented in

concert with our local wines.

dinner nightly

Sunday-Thursday 5-9pm

Friday-Saturday 5-10pm

bouchon

Photo by Mark Allan

9 west victoria street | 805.730.1160 | bouchonsantabarbara.com

Northern Trust would

like to dedicate this

season to our friend

and CAMA supporter

ANDRE

SALTOUN

(1930 - 2020)

For over 133 years, Northern Trust has been caring for our

clients’ financial needs with a commitment to invest in the

communities we serve. We are proud to continue playing

this supportive role with Community Arts Music Association

of Santa Barbara.

TO LEARN MORE VISIT

northerntrust.com

WEALTH PLANNING | BANKING | TRUST & ESTATE SERVICES | INVESTING | FAMILY OFFICE

Program Book / CAMA Presents the Chicago Symphony Orchestra with Maestro Riccardo Muti / January 25, 2023, The Granada Theatre, Santa Barbara, 7:30PM

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